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.IUNF 



25* 



Scanned from the collection of 
Shane Brown 



Coordinated by the 
Media History Digital Library 
www.mediahistoryproject.org 



Funded by a donation from 
David Sorochty 



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JUNE 



25 <t 




IO 



A BREWSTER PUOUCATiON 















Florence Vidor 



— 





1 



T> 



^\^ / zAsk a Favor of the J^adies 

I have a great delight — an Olive Oil 
Shampoo for them 



V. K. CASSADY, B. S. M. S., Chief Chemiu 

Dear Madam: 

OUR husband knows 
me the chief chemist 
at Palmolive. 




I have just given him 
a new delight; a gentler, quicker 
shaving cream. 

Now I have as great a joy for 
you. A gentle shampoo — olive 
oil! — that does not make hair 
dry and brittle, that leaves it 
soft and gleaming. 

The favor I ask is that you try it. 
And then give me your opinion. 

I Asked 1000 Women 

Recently I asked over iooo wo- 
men what they wanted most in 
a shampoo. 

They named but one require- 
ment. But as yet had failed to 
find it: 



A thorough cleanser that would 
take out all grime and foreign 
matter — yet which would not 
take away the life and lustre that 
adds so much to charm. 

Scores of scalp experts agreed. 
They said ordinary shampoos 
were too harsh. And advised the 
oil shampoo — but made a point 
of olive oil. 

So the Olive Oil Shampoo 

Now I offer you the olive oil 
shampoo — world famous — for 
you to use at home. 

After the ordinary harsh sham- 
poo, results will be a revelation. 
You will note them in your mir- 
ror. Your friends will note them. 

And then you will do as thou- 
sands have done — thank me for 
a new delight. 



PALMOLIVE 

SHAMPOO 



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<~cp t rl*kt W» 



-Th. Palmoliw Qb. 171(1 ^ 



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LASSIC 




The Picture Book De Luxe of the Movie WoilJ 

A BREWSTER PUBLICATION 



JUNE, 1923 




No. A 



COVER PORTRAIT— FLORENCE V1DOR 
Painted b) R. Dahl from ;i photograph !>v \Vit/<-l 

The Remedy for Censorship. The final article by II 

Classic's Gallery of Photoplayers: Robert Frazer, Bettj Compson, 

Anna Q, Nilsson, M.n\ Philbin, Lois Wilson, Charles de Roche I- 

Hungry Hearts of Hollywood. Heretofore suppressed desires told t.» H 

The Tragic Muse. A character pi una it of Mine. Jctta Goudal 

The Return. Of Francis \. Bushman Susan Elizabeth 

Foreign Films. \t a glance \tau 

Trilby. Amine Lafayette, a Du Manner ideal 

Little Old New York. Told in short story form Patt it la 

At Lunch with Gloria. An interview Jeffery 

Idol Worship. Hetty Blythe in an odd pose 

The Heavy. "( me may smile and smile and be a villain." fane If. Li/wia 

Hollywood Homes. Charles Ray 

A Song of the Screen. Verses and pictures Dorothy Rosecrant n 4U 

Half Chinese and Wholly Lovely Bat 41 

Frank Lloyd's Jackie Coogan / ,iith Service 4_' 

The Tragic Comedian. An unusual photographic study of Max Linder 44 

The Celluloid Critic. The newest picture plays in review Laurence Reid 45 

Iris In. Pertinent and impertinent screen comment //. II'. Hanemann 4X 

The Photographer Takes the Stage. Classic's monthly department of 

the theater 4'; 

Flashes From the Eastern Stars. Of the stage, on the screen Caught by the Editor 52 

The Madness of Youth. A short story Lamb 54 

Classic Considers The great ami the near great 

The Heir to the Throne. ( )t Barthelmess 

The Hollywood Boulevardier Chats Harr 

Katinka From Chauve-Souris 

The Modern Movie Hero 

The Movie Encyclopaedia By Tfa Man 7(1 

Subscription $2.50 per year, in advance, including postage, in the United States, Cuba, Mexico and Philippini 
■. Foreign Countries £t.50 pet year. Single copies 25 cents 

Subscribers must notify us at oner oi any change in ... ring both old and n< - 

Pi bushed Monthly by Brewster Publications, [nc, at Jamaica, Y , i . 

Entered at the Post Office at Jamaica, N. )'., as second-class matter, under the act of March 3rd, 1X79. 

PRINTED IN V. S. A. 

Eugene V. Brewster, president and Edttor-ln-Chi, (; Guy L. Harrington. Vtee-Pretldent an,/ Business Manager; L G. Conlon, 

E. M. Heinemann, Secretary. 

EXECUTIVE and EDITORIAL OFFICES. 175 DUFFIELD ST.. BROOKLYN V V. 

Copyright, 192.1, by Brewster Publications, Inc., in the United Static and Great Britain. 



SUSAN ELIZABETH BRADY. Editor 
ADELE WHITELY FLETCHER, Managing Editor 

Harry Carr Western Representative 

A. M. Hopfmuller Art Director 

Duncan A. Dobie Director of Advertising 

pablished monthly, comes out on the 12th. Tts elder sister, the Moi 

n the 23rd ol (hi month • on the -.' .■ 



Announcement for July 

Do you recognise <"i anachronism when you see one' 

Fred Gilbert Blakeslee ha- written a penetrating, and what i- ran 

structive criticism of the so called "costume pictures" that arc sweeping the 
country today, lie has the sanest and most intelligent suggestion to offer tor the 
prevention of historical errors and absurdities that we have vet seen. Read 
COSTL'ME RESEARCH in the July Classic. 




/ 




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YOU NEED NO PREVIOUS TRAINING. The course 
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U. S. Civil Service Commission Needs DRAFTSMEN 

The following are a few of the nianv positions open in 
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Architectural Designer, $4,000. 
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THE COLUMBIA SCHOOL OF DRAFTING 

Roy C. Claflin, President 
Dept. 2001. 14th & T SU., N. W. Washington, D. C. 

r -...__. FREE B00K COUPON-------', 

I COLUMBIA SCHOOL OF DRAFTING, 

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■ .Name * 

. Address ' 

J City ■ 

[State Age J 



Current Stage Plays 

{Readers in distant tnivns ivill do well to preserve this list for reference tv/.'iese 
spoken plays appear in their vicinity) 



Ambassador. — Tessa Kosta in the mu- 
sical gem "Caroline." 

Apollo. — "The God of Vengeance." 
Rudolph Schildkraut in an unusual play. 

Astor. — "Lady Butterfly." Slight as to 
plot but a charming musical comedy. 

Bayes. — "Liza." Another "Shuffle 
Along," destined to be even more popular. 

Belmont. — "You 
and I." H. B. War- 
ner, Lucile Watson 
and star cast in the 
Harvard Prize Play. 
Belasco. — Lenore 
Ulric in "Kiki," 
David Belasco's pro- 
duction of his own 
piquant adaptation 
of Andre Picard's 
French farce. Miss 
Ulric scores one of 
the big hits of the 
season with her bril- 
liant playing of a 
little gamine of the 
Paris music halls. 
You will love Kiki 
as you loved Peg — 
but differently. A 
typically excellent 
Belasco cast. 

Booth. — The 
"heaven'' in "The 
Seventh Heaven" is 
the top floor of a 

Montmartre tenement in Paris. It is a 
story of love and regeneration with touches 
of humor and unreality. Helen Menken 
gives an excellent performance. 

Broadhurst. — 'Whispering Wires." One 
of the numerous mystery plays now trying 
to puzzle Broadway. This one succeeds. 

Casino. — "Wildflower," with Edith Day. 
The music is exquisite. 

Central. — The home of Shubert vaude- 
ville during the week. Two concerts are 
given on Sunday. 

Century. — In "The Lady in Ermine" we 
have a musical comedy with a plot that it 
follows effectively or comes back to after 
each departure as if it really meant to be 
something more than vaudeville. The ac- 
tion concerns a romantic legend about an 
ancient European castle. Wilda Bennett 
as the heroine sings charmingly. 

Century Roof. — "The Chauve-Souris" of 
Nikita Balieff and his Russian entertainers 
from Moscow. Fourth bill. Better than ever. 

Cohan. — "The Exile." A romantic 
comedy by Sidney Toler featuring Eleanor 
Painter and Jose Ruben. 

Comedy. — "Anything Might Happen." 
Delightful comedy with Estelle Winwood 
and Roland Young. 

Cort. — Harry Leon Wilson's popular 
story, "Merton of the Movies," has lost 
none of its charm and humor in the drama- 
tization. Glenn Hunter and Florence Nash 
are perfectly cast as the hero and heroine. 

Earl Carroll. — "The Gingham Girl." A 
very tuneful, interesting musical comedy 
with a chorus of eight lively flappers. 
Helen Ford is the gingham girl, and Eddie 
Buzzell furnishes the comedy. A triumph 
of quality over quantity. 

Eltinge.- — "Morphia" is a play that acts 
as a vehicle for Lowell Sherman to give 
a realistic portrayal of a drug fiend. 

Empire. — -"Zander the Great." Alice 
Brady's return to the stage. Review later. 

Forty-fourth Street. — "Sally, Irene and 
Mary" is a musical comedy full of the 
usual pretty girls, dancing and songs. 

Forty-eighth Street. — "Anathema." Re- 
view later. 



Classic's List of Stage Plays 

and Revues in New York 

That You Should See 

°$ 

"Merton of the Movies" 

"The Adding Machine" 

"7th Heaven" 

"Wildflower" 

"The Last Warning" 

"Rain" 

"Romeo and Juliet" 



i 



Forty-ninth Street. — "Give and.<e." 
Aaron Hoffman's new play, witouis 
Mann and George Sidney. 

E razee. — "Barnum Was Righ An 
American Farce. Review later. 

Gaiety. — "If Winter Comes. The 

stage version of Hutchinson's ular 

novel with Cyril Maude giving a .idid 

characterizai o f 

Mark Sabre 

Henry Jr. — 
"Romeo andiet." 
Jane Cowl her 
performance's a 
remarkable ires- 
sion of youtouth 
in love. Her lcia- 
tion of Shakare's 
lines is perf' 

Hippodr.. — 
"Better Tim The 
largest coest, 
and most n: and 
prettiest of i ries. 
The Fan Bt of 
more than fchun- 
dred persons per- 
haps the st fea- 
ture. 

Hudson. "So 

This Is Lo*n !" 

George Coh; new 

English cedy, 

which suffeiomc- 

what frorrxag- 

geration, but is a most amusing :y of 

clashing temperaments — the Eng and 

the American. Worth seeing. 

J olson's Fifty-ninth Street. — ene." 
Second engagement of the popularisical 
comedy. 

Klaw.— "The Last Warning," a stery 
play that fairly congeals the audie with 
terror. Every trick is used to bu up a 
perfect atmosphere of horror, bnning 
with the tarantulas that swarm r the 
walls of the green room in the fi act. 

Knickerbocker. — "The Clinging, r ine," 
a comedy with music. Clever, mml and 
the welcome vehicle that bring; 3 eggy 
Wood back to Broadway. 

Liberty.— "Little Nflly Kelly." ne of 
George M. Cohan's best. Quite eigh to 
say about a play. 

Little.— "Bolly Preferred." A^medy 
of modern business, in which (evieve 
Tobin does some excellent acting. 

Longacre. — "The Laughing .adv." 
Ethel Barrymore in Alfred Suti play 
has found herself again. 

Lyceum. — "The Comedian." F curing 
Lionel Atwell. Review later. 

Maxine Elliott's. — "Rain" is ; bitter 
tragedy by Somerset Maugham; i iolent 
attack on the repressions of Punnism. 
Jeanne Eagels is superb in the lead{ role. 
Morosco.— "The Wasp." A playeatur- 
ing Otto Kruger, Emily Ann Vllman, 
and Galina Kopernak. 

Music Box. — The new "Revu" — No 
pains have been spared in the mter of 
delighting the eve. 

National.— "The Dice of the God' The 
incomparable Mrs. Fiske charm.? her 
audience in spite of a poor play. 

Mew. Amsterdam. — "Ziegfeld Fcies of 
1922." "Glorifying the Americai Girl." 
More gorgeous, more elaborate, nre ex- 
pensive, more distracting, and a lite fun- 
nier than usual. 

New Winter Garden. — "The hncing 
Girl" — A musical extravanganz; with 
Trini, Spain's most beautiful gir) . 
(Continued on page 92) 

(lx) 



■ 
-in-law 

with t 

VS.l^ I I 

■ 

■ 

m \> wl \% I. a 
ell that j [></t BMOAfWM 

. \ jr 
rtinj l»at»\. Isn't lie WOfth 

II he |ur« of it when you 

iilJ Llo) J In " 1 Do." 




you've lost your funny-bone— 




r>u think a comedian Is onlv 
down or a buffoon you will 
-e»ly change your mind when 
vole this poor timid, lovable 
hoarn the secret of Courage. 
Arhrcwd, loving Grandma — 
ih lew what he needed. No 
wc r "Grandma's Bov" was 
vo among the best ten motion 
ou :s of the year. 



I 1 you tliink no motion picture in the world can 
A make you laugh a good old-fashioned laugh again 
— take this prescription. It's tested and unfailing, 
especially compounded for just such a critical case 
as yours. 

K 

Six Encore Pictures of Harold Lloyd. 
Sig: Take one after meal time. Alone or ac- 
companied by friend, member of family 
or stray child. Get into comfortable seat at 
motion picture theatre and — shake well! 
S. Q. Lapius, M.D. 

After the first treatment you will feel so much 
better you'll tliink you are cured. But don't stop 
with one picture. Keep the treatment up. Take all 
six — and you'll want to cure others! 

Ask your theatre manager for this tested group of 
gloom-destroyers. He will be glad to give you the 
genuine — bearing the signature of that distinguished 
producer, Hal Roach. 

Distributed by Associated Exhibitors, Inc. Arthur 
S. Kane, President, 35 West 45th Street, New York. 
Physical Distributors, Pathe, Inc. 



SOMI HOW Lloyd feels that the bathing pool of the 
Sultan's Harem i ; no Ioiik' t 

from the Sultan'i 

clutch- re onlv two of the perplexities which 

best r Harold Lloyd in " \ Sailor-Ma li n you 

uproarious adventures you'll wonder how he could 

cram so much hilarif v into one short huur. 





la 



if 



oft 

l.lo 

may 

upi 



utl 



roari 



fa 



ROI.D and Mildred find In 
\ \ cr Weaken " that true 
a dangerous course, 
L i in the air. Lovelorn 
perched on a girder, doin^r. 
el t to get back to solid 
to his sweetheart — 
t sound funny, but it is an 
ous spectacle. 



WHEN a fellow who has never beenoutsidehishomctowngcts 
into society, and is asked to tell of his African hunting cx- 
periences — just what would the book of etiquette advi* 
his imagination, is our guess. 

And in "Among Those Present," Lloyd does use his imagina. 
tion — recklessly and wondrously as you can judge from the ex. 
pression of his hostess. 



IT doesn't seem quite 
fair to ask a pain- 
fully respectable, un- 
domesticated bachelor 
to play chaperon to a 
full -of- the -mischief, 
four-year-old girl in a 
1 Pullman. But 
m or Never" 
Lloyd does find a way 
out of his troubles — 
after bis own fashion. 



core 




ENCORE PICTURES are chosen from 
hundreds of new motion pictures offered 
us each year — cb 

tually enttnain the private audiences who 
em in advance. 
This line of high grade pici. 
eludes: 

Harold Lloydin"Grandma'sB 
Do," 

en," "Among Those Present," and "A 
Sailor-Made Man." 

Constance Binney in "A Bill, of 
Divorcement" — an absorbing drama 
ling the depthsof human feeling. 
"Head Hunti rsof the 
— a truthful record of a thrilling ad- 
mire. 
Florence Vidor in "Alice Ada'- 
a wonderfully faithful and . 
picturi'ation of Booth Tatkington's 

fl; — andothcr 



To be sure of having all the better 

photo-plays shown in your neighborhood 

Mould form a Better Pictures Council 

irk with the managers of your local 

picture the .r 

than 6oo communities have or- 

- d such Councils. Every month the 

members receive impartial reports of all 

i*hilc phot' 
tures alone. The Council recommends the 
bcNt pictures to the theatre manager and 
endorses them to the public. 

Thus everybody benefits — theatre goers 
can make known in advance what pictures 
. and the theatre i 

\\ hy don't i 

getti- 

■ 
"Getting B 
Works." Arthur J>. Kane, 7- ; 

West 45th Street, New . 



(Snen) 



Will ibur Conscience 
Let YOU Marry'? 




STRONGFORT 
The Perfect Man 



Regrets will haunt you all 
your life If you marry before 
you are physically fit and a 
real man In the full sense of 
the word. 

Lionel Stroiiylort 

When Marriage 
Means Misery 

Marriage always means 
failure, tlisappointment. 
hard luck and misery to 
the man who has neglect- 
ed his health and under- 
mined his vital powers. 
You know that excesses 
have sapped your many 
powers — you know that 
you are not the ideal man 
that some pure innocent 
girl believes you to be. 
It's a crime to deceive 
her and wreck her happi- 
ness. It is doubly a crime 
to bring onto the F.arth 
sickly, defective children, 
who will be a burden and 
reproach as long as you 
live. 

Root Out The Crop 
of Youthful Folly 

Vou have sown a big 
crop of "wild oats." You 
have lived as you pleased 
without regard to your 
responsibilities as a man. 



But now you know that you are not fit to be 
a husband and a father. You dare not marry 
and pass on your acquired taints and tenden- 
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The truth about the scientific application of Natu- 
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PhvBical and Health Specialist 

Dept. 346 Founts i*-,s Newark, N.J. 



FREE CONSULTATION COUPON 

Mr. Lionel Strontfl'ort. Dept. 346. Newark. N. J.— Please send 
me your book. "Promotion and Conservation of Health, 
Strength and Mental Energy," for postage on which 1 en- 
close a 10-cent piece (one dime p. I have marked (Xj before the 
subject in which 1 am interested. 



Colds 
. . Catarrh 
. Asthma 
. . Hay Fever 

Obesity 

Headaches 
. Thinness 
. Rupture 

Lumbago 

Neuritis 
. Neuralgia 
. Flat Chest 
. .Deformity 

(Bea 
. .Successful 
Marriage 
. .Rheumatism 



. .Pimples 
. .Blackheads 
. . Insomnia 
..Short Wind 
. . Flat Feet 
. Stomach 

Disorders 
. .Constipation 
. .Biliousness 
. .Torpid Liver 
. .Indigestion 
. Nervousness 
. . Poor Memory 
. Vital Losses 
. . Impotency 
. Weak Eyes 
. . Despondency 
..Diabetes 



. . Female Disorders 
. Increased Height 
. .Youthful Errors 
. . Manhood 

Restored 
. .Prostate Troubles 
. . Neurasthenia 
..Falling Hair 
..Gastritis 
. .Heart Weakness 
..Poor Circulation 
..Skin Disorders 
. . Round Shoulders 
. .Lung Troubles 
. .Stoop Shoulders 
. Muscular 

Development 
. .Great Strength 



Name. 



I Age Occupation.. 
Street City. 



Manufacturers, Distributors 
and Studios 

of 

Motion Pictures 

New York 



Advanced Motion Picture Corp., 1493 B'way. 
Arrow Film Corp., 220 W. 42nd St. 
Astra Film Corp., 1 Congress St., Jersey 
City, X. J. (Studio.) 

Ballin, Hugo, Productions, 366 Fifth Ave. 
Biograph Studio, 807 E. 175th St. 

Community Motion Picture Bureau, 46 \V. 

-Mil) St. 
Consolidated Film Corp., 80 Fifth Ave. 
Cosmopolitan Productions, 2478 Second Ave. 

F.ducational Film Co., 729 Seventh Ave. 
Export & Import Film Co., 729 Seventh Ave. 

Famous Players-Lasky, 485 Fifth Ave. (Stu- 
dio, 6th and Pierce Sts., Astoria, L. I.) 
Film Booking Offices, 723 Seventh Ave. 
Film Guild, 8 W. 40th St. 
Film Market, Inc., 1482 Broadway. 
First National Exhibitors, Inc., 6 \V.48th St. 
Fox Studios, Tenth Ave. and 55th St. 

Gaumont Co., Congress Ave., Flushing, L. I. 
General Enterprises, Inc., 1540 Broadway. 
Goldwyn Pictures Corp., 469 Fifth Ave. 
Graphic Film Corp., 729 Seventh Ave. 
Griffith, D. W., Films. 1476 Broadway. (Stu- 
dio, Oriental Pt., Mamaroneck, N. Y.) 

Hampton, Hope, Productions, 1452 B'way. 
Hodkinson, W. W., Film Corp., 469 Fifth 
Ave. 

Inspiration Pictures, 565 Fifth Ave. 
International Studios, 2478 Second Ave. 
Ivan Film Prod., 126 W. 46th St. 

Jans Pictures, 729 Seventh Ave. 
Jester Comedy Co., 220 W. 42nd St. 

Kane, Arthur S., Prod., 25 W. 43rd St. 

Metro Pictures, Loew Bldg., 1540 Broadway. 
Moss, B. S., 1564 Broadway. 

Outing Chester Pictures, 220 W. 42nd St. 

Pathc Exchange, 35 W. 45th St. 
Piedmont Pictures Corp., 45 Laight St. 
Preferred Pictures, 1650 Broadway. 
Priznia, Inc., no W. 40th St. 
Pyramid Picture Corp., 150 W. 34th St. 

S. L. Pictures, 1540 Broadway. 
Seitz, George B., 1990 Park Ave. 
Selznick Pictures, 729 Seventh Ave. (Stu- 
dio, W. Fort Lee, N. Jj 
Stewart, Anita, Prod., Inc., 6 W. 48th St. 
Sunshine Films, Inc., 140 W. 44th St. 

Talmadge Film Corp., 1540 Broadway, 
ropics of the Day Film Co., 1562 Broadway. 
Triangle Distributing Corp., 1459 B'way. 
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West, Roland, Prod. Co., 236 W. 55th St. 

Whitman, Bennett, Prod., 537 Riverdale Ave. 




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(Eight) 




Editor's Note. — This is the third and lost article by Mr. Leeds 
on the cause, result and cure for censorship. We hope you will 
not overlook the fact that, after all, the remedy is in your hands. 
If there is any other phase of the moving picture industry yoti 
would like to have discussed, let us know. We'll see Mr. Leeds. 



JL'ST as there is a remedy for everything from spring 
fever to Ben Turpin's shortcomings as a romantic 
lead, so also there is a cure for censorship. Like all 
diseases, however, it requires diagnosis. Examined 
thoughtfully, it discloses to us, its doctors and physicians, 
two important aspects. It is either: 

( 1 ) A menace to entertainment ; or 

(2) An attempt to- lessen the free spread of information, an 
attempt to curtail freedom of thought, and hence a thing political 
in its nature to be remedied by the voters of the republic. 

In short, the remedy lies in your hands. If you are 
movie fans, you are voters, too, hut politics is a matter, 
first, of argument, and, secondly, of organization. The 
argument in favor of censorship is that pictures of an un- 
fortunate moral tone have from time to time been offered 
the public. That this, if it ever happened really, might 
not happen again, the picture producers themselves set up 
the Honorable Will H. Hays as a boss. That the pro- 
duction of pictures over which honest people may differ 
was usually the work of fly-by-nighters who sneaked into 
the game and sneaked out with their clean-up is not so 
generally understood. 

Xor is it clear, generally speaking, that for such dis- 
agreeable occurrences there was a cure without resort 
to censorship. Granting that an immoral picture ever was 
shown li these United States of America, to end its run 
required only an appeal to the courts. Any citizen could 
go in a id make that appeal and get immediate action. 
Citizens who do not like the movies have searched end- 
lessly f<lr causes to take to court. Failing to find them, 
they hit- upon censorship as a scheme for bringing their 
prejudices to bear on our favorite amusement. 

The point cannot be too strongly emphasized that there 
is everywhere in the union already a remedy for immoral 
pictureal. Should one be produced and shown, all that is 
necessary is to call it to the court's attention. The judge 
will end it quickly, but this is not what censors want. 
They want to clamp down their narrow prejudices on 
every type of picture. For example, because of censorship : 

Girls have no legs in many states. 

Kisses must be so long and no longer. In Maryland you cannot 
kiss your wife's shoulder, in Ohio her foot. 



Cigarets aren't smoked by men or women in Kansas. 

In Pennsylvania babies are neither born nor expected. 

Such words as "ornery," "hot doggie," "wild oats," "bright t 
'baby lamb" and "gimme" are looked on askance. 

Robert Louis Stevenson's famous children's story, "Treasure 
Island," is regarded as an incentive for all youngsters to becomr 
pirates and horse thieves, while Jackie Coogan breaking window « 
in "The Kid" is also a bad example to other kids ! 

In Pennsylvania doll clothes are suggestive. 

Enough ! Obviously, the censors' idea is not to impi 
our morals, but something else again. What this some- 
thing else is, we may well set out to inquire, for if r 
playboys of the western world are allowed to continue 
to act like a lot of scared cats dancing the light fan- 
tastic in a pool of* molasses they will slowly but surely 
ruin the movies as a source of entertainment. 

Obviously, if they are to continue in power, no one 
will dare produce anything human enough to be inter- 
esting. To do so would be to invite your filing destruc- 
tion, so why continue them in power, a power they seek 
not for the reasons they give but for the reason given 
by George Bernard Shaw, the playwright, when he pointed 
out that the movies by improved use of the sign language, 
a language the same in every land, could easily revolu- 
tionize the world. Taking charge of them to see that the 
revolution they bring about suits a narrow minded few 
is a purely "political action. 

So far it has succeeded in great states like New York. 
Ohio, Pennsylvania, Kansas, Maryland, Virginia and cer- 
tain Canadian provinces, but the issue was joined last fall 
in Massachusetts and lost by the censorship advocates. 
The campaign was instructive, the majority 344.921 votes 
against censorship. Before this, the issue had been left 
to governors and legislatures. 

This time the people got a chance to express their minds. 
The total vote was 553,173 against 208.252 in favor. The 
majority against censorship was 136,669 votes greater than 
the total negative vote, but this happy result was brought 
about in anything but a haphazard fashion. It was the 
result, first, of argument, and, secondly, of organization. 
Those opposed organized a Committee of Massachu- 
setts Citizens Against Censorship. On this committee 
( Continued on f 



vert ) 







This interesting youth is a charming young 

man about pktarcs. He is the hero of Mae 

Murray's latest photoplay "Jassmania" 



Robert Frazer 



i 




ThotoRraph by Edward Thayer Monroe 



Betty Compson 



11' e think this is the loveliest portrait of 

Betty Compson that has ever come to our 

offices. She is working at present on 

"The Rustle of Silk" 




Photograph by Richee 



Blue-eyed and jonquil-haired like her northern 
ancestors, Miss Nilsson is a sight for Klcig 
eyes. She was charming in "Adam's Rib" 
and we await impatiently her next picture, also 
"The Rustle of Silk" 



Anna Q. Nilsson 




Photograph by Freulich 



Mary Philbin 



Sweet young girlhood is pictured here. 

We shall see Mary again soon — in "The 

Merry Go Round" 




Photograph by Donald Biddle Keyes 



•*» 



Lois Wilson was fortunate enough to be 
chosen for the heroine of "The Covered 
Wagon" which is having an extraordinary New 
York run. It has been called, "The film epic 
of America" and you may be sure that Lois 
contributes her bonny share 



Lois Wilson 




Photograph by Pach Brothers 



Charles de Roche 



This is the romantic French actor who 
was brought to this country to take the place 
of Rodolf Valentino. Docs anyone think he 
can do it? We shall see. . . . His first 
picture Tvill be with Dorothy Dalton in 
"The Law of the Lazclcss" 




I 



Hungry Hearts 

The Cinemese Tell 
To HARRY 

N Hollywood, everybody sits around and yearns 

and yearns. 

Every one I know in die film colony wishes she 
were something else. They all sit around the sets 
and sigh for the day when the great ambish comes 
true. 

It goes without saying, of course, that most of 
them crave to be something they couldn't be — and 
wouldn't like if they were. Which sounds a little 
mixed but is true. 

Here's Mary Pickford the crowned queen of mo- 
tion pictures— so far above all jealousies and rivalries 
that no other girl dreams of disputing her absolute 
sway . . . rich beyond the dreams of avarice . . . 
the most adored and most famous woman who ever lived. . . . 
Of course there is nothing that Mary could possibly yearn for . . . 



Oh, isn't there? 
Wall 



Now all this fame and 
glory and wealth and so on 
doesn't mean so much to 
Mary. She is a lady with 
a crushed ambition. What 



Douglas Fairbanks also yearns ... to be 
a playwright . . . and the funny part of 
it is that Doug is quite likely to do it . . . 
he will get hold, some day, of the moon 
for which he is reaching 




What Mary wants to be is a 
painter . . . with palette on 
one little thumb . . . and a 
queen sitting on the throne 
waiting to be painted 






% 



t>' 



*.- 



IMiotograph by Abbe 



Dorothy Gish longs to be 
anything but an actress 
... a cook maybe in a 
family where they are 
all compelled to fast on a 
hot water diet 





K£y~ 



Mary wants to be is a painter. In her soul hunger 
moments she sees herself standing in front of an 
easel, a palette on one little thumb, perhaps her hair 
mussed up a little and a little smudge of paint across 
her face and a queen sitting on the throne to be 
painted. Mary also mixes her dreams a little with 
a yearning to be an interior decorator. She can 
see herself walking thru a new house with a newly 



(Eighteen) 



of Hollywood 

Their 1 leans' Desires 



CARR 

rich oil queen hanging on her w< • "I think you 

should have this room in yellow with chairs »i something 
scattered around." 

Every time something goes wrong on one of her sets, whin 
she i^ making picture dramas, Mar) sighs and says, "1 never 
should haw tried this business. 1 should have followed my 

itiny and been a painter . . . away from all this fuss and 
worry . . . all these lights . . . and directors . . . and actors 
cant act ..." 

Douglas Fairbanks also yearns. 

His film career is well enough of course: one must no1 quarrel 
with one's bread 
and butter . . . 
that's true . 
that's true. 

But if he had 
h i s w a \ . h e 
would he a play- 
wright — a regu- 
lar (ius Thomas 
. . . first nights 
with awed and 
frenzied crowd- 
calling for the 
author . . . anx- 





D. W. Griffith cherishes 
a desire to be a great 
orator swaying the masses 
. . . swaying the theater 
. . . the chandelier . . . 
and everything 



In the bottom of his soul Charlie Chaplin has a 
hankering to be the leader of a great symphony 
orchestra . . . white gloves ... a baton . . . 
thundering applause ... a deprecating bow . . . 
savages tamed by music . . . Gosh! 



Alhin 



Lillian Gish in her 
dreams sees herself 
the lady principal 
of a girl's college 
. . . telling them 
all about the dative 
case and the cum 
clause 



ious producers hegging to be remembered when 
he writes his next one . . . Shakespeare green 
with envy in his frames. And the funny part 
it is that Douglas is quite likely to do it. 
Of all the actors on the screen, he prohahly has 
the most accurate and inspired knowledge of the 
elements of true drama. Doug can find the 
weak spot in a play with the sure knowledge 
of a magnet finding a piece of iron. It is quite 
likely that he will get hold, some day. of the 
moon for which he is reaching. 

And Charlie Chaplin . . . 

Perhaps you think he is satisfied : hut down 
in the hottom of his soul Charlie has a hankering 
that cant he stilled. Charlie wants to he the 



„ ¥* 





(Nineteen) 



CLASSIC 




She says she will 
be happy when 
she overhears 
someone 'say: 
"Good Heavens! 
There's that fat 
Fazenda woman. 
She's had an- 
other baby!" 



Photograph by Melbourne Spurr 



Louise 
Fazenda 
says it 
means 
nothing in 
her life to 
be the fun- 
niest wom- 
an on the 
screen 




leader of a great symphony -orchestra . . . white gloves 
... a baton ... a music rack ... a dark look at the 
offending slide trombone player . . . thundering applause 
... a deprecating bow . . . uplifted masses . . . savages 
tamed by the divine flow of melody . . . Gosh ! 

D. W. Griffith has always cherished a secret ambition 
to be a great orator, swaying the masses by his voice. 
His favorite characters in all history are men like Danton 
who have held mobs in the hollow of their hands. The 
only trouble is they have always 
been revolutionists. If D. W. could 
only find something eminently re- 
spectable as befitting a Kentucky 
gentleman to sway them about. The 
only outlet he can find for swaying 
is putting skids under cen- 
sorship. The truth is, he 
could do it too. Griffith 
has an almost hypnotic 
power over men. The only 
trouble is, in his case, the 
mob swaying days of the 
world seem to be over — for 
Kentucky gentlemen. 

Lillian Gish has a peculiar 
dream that occasionally af- 
flicts her when things go 
wrong in the studio. Now 
this is a funny one. She 
would like to be the lady 
principal of a girls' college. 
She can see herself starkling 
on the platform and dis- 
coursing to a thrilled and 
excited group of attentive 



young ladies upon the peculiarities of the dative case as 
used by Cicero in his famous orations. And she can see 
herself getting letters from former pupils telling her that 
all their successes in life have come from the sweet lessons 
she imparted to them in the use of the cum clause in rela- 
tion to the subjunctive mood. 

Dorothy wants to be anything except an actress. She 
confesses that every time something slips the trolley during 
the making of a picture, she grabs up the Sunday paper 
and reads the "want" columns. She says she has dis- 
covered that the only thing she could do except act would 
be to get a job as cook in a family where they are fasting 
on a hot water diet. 

Dorothy's husband — James Rennie — he's another 
yearner. One of the best juvenile actors in the world, he 
considers his job to be only a means to an end. What 
James wants to do is run a newspaper. In his dream 
moments, he can see himself in an editorial sanctum, 
moulding public opinion and just laying out the reptile 
contemporaries who have the audacity to dispute his views 
on the protective tariff — just laying them out in long cold 
rows. 

Louise Fazenda ... it means nothing in her life to be 
the funniest woman on the screen. What 
she wants to do is to have a ranch in Cali- 
fornia and be married to some nice man who 
understands pruning young orange trees and 
not to have worry about getting fat. She 
says that she will be happy when she over- 
hears some one say (as she comes to town 
from her ranch) "Good heavens! There's 
that fat Fazenda woman. She's had another 
baby." Louise is quite likely to fulfil her 
ambition insofar as owning a ranch is con- 
cerned. A flock of ranches maybe. Louise 
is a miraculously successful investor. She 
must have all kinds of money by this time. 

Harry Carey, the cowboy actor (who never was a cow- 
boy by the way) yearns also. All his life he says he has 
wanted to write and 
act in sea stories. He 
wants to be a tough- 
rough -first -mate and 
buck the waves with 
(Cont'd on page 82) 




,*?:*<-'-. 











Every time 
Monte Blue 
gets out in 
front of a 
camera, his 
heart aches 
with longing 
to be on the 
other side of 
the instru- 
ment 



(Twenty) 







THE TRAGIC MUSE 



An interesting study by White Studios of Jetta Goudal, a young French 

actress of charm and distinction who has an important role in "The Bright 

Shawl" the last colorful Hergesheimer story to be put on the screen 



(T-centy-one) 




Photograph by Edward Thayer Monroe 



Above is the latest por- 
trait of Francis X. Bush- 
man, the whilom idol of 
the screen who has 
come back after an 
absence of nearly four 
years. Right is his wife, 
Beverly Bayne and 
their little boy, Richard 
(in the dark suit). The 
other child is appearing 
with them in their pic- 
ture "Modern Marriage" 
soon to be released, 
which we await with 
profound interest 



BEVERLY BAYNE is slen- 
der and small, with little 
feet and tiny little white 
hands. She has delicate fea- 
tures, a tenderly curved mouth 
with a wistful droop, gentle 
brown eyes and dark curling 
hair. There is about her slight 
person an air of pensive calm, 
a magnificent — a tremendous 
serenity. One immediately 
senses that this girl has suffered, 



The 
Return 

Of a One-Time Idol 



has been thru the mill that 
grinds out bitter years ; but it 
has not destroyed her. Quite 
the contrary. Here for once, 
were the uses of adversity 
sweet. Hers is the peace of 
painfully acquired wisdom. 
Beverly Bayne has come thru. 

Francis X. Bushman is an- 
other story, another type. He 
is big and blond and ruddy, 
bristling with good health and 
unbelievably fit. He is robust, 
vigorous, aggressive. He is like 
a strong clean wind blowing. 
He really believes that all is 
right with the world, but what 
is more remarkable, makes you 
think so too, no matter how 
deep rooted your pessimism may 
be. He is wholesome, with a 
vitality that keeps that sanity 
and sense he possesses in so 
brave a measure from ever be- 
ing dull. He is the husband of 
Beverly Bayne and beside that 
tie, they are alike in mind altho 
they seem to have arrived at the 
same conclusions, the same con- 
tented, ultimately wise state, so 
very differently. 

They were completing the 




(Twenty-two) 










By 

SUSAN 
ELIZABETH 

BRADY 



last scenes o i 
"Modern Marriage" 
out at the Whitman 
Bennett studios, 
when it was our 
privilege to talk to 
them. Mr. Bush- 
man was about to 
throttle an attempt- 
ed black-mailer, so 
we didn't interrupt 
and Beverly Bavin- 
sat down beside us 
and talked ; while 
her husband roared 
defiance on the set 
and the director 
megaphoned his ap- 
proval ; and her 
little son. the three 
year old Richard 
pict ured here, 
climbed on and off 
her lap and got in 
the way of the car- 
penters and nearly 
pulled the scenery 
over on his small 
head like any other 
small boy ; and the 
extras wandered 
around in their pa- 
thetically dull fash- 
ion. But Beverly 
Bayne never lost 
her poise or became 
even slightly ruffled. 

"Do you find it 
very different ?" we 
asked. 

"Oh no.'' she re- 
plied, "not so very. 
Better photography 
and more acute di- 
rection. The only 
radical change I 
note is the gener- 
osity with footage. 
One is really given 

a chance now — that is — time to register an emotion. In 
the old days if ten feet of film was wasted the company 
contemplated bankruptcy. Now you can have all the 
footage you need. Except for that, it is very much the 
same. It is less than four years you know, actually." 

We remembered this pair, tho it seemed longer ago 
than that. Francis X. Bushman had a vogue then com- 
parable to that of Valentino's now. He was the romantic 
hero of the day. The unfortunate circumstances that 
forced them to abandon pictures for a time, are universally 
known. There is no need of going into that again. They 
went on the vaudeville stage and stuck to that, altho a 




Photograph by Edward Thayer Monroe ■ 



Beverly Bayne has delicate features, a tenderly curved mouth with a wist- 
ful droop, gentle brown eyes and dark curling hair. There is about her 
slight person an air of pensive calm, a magnificent — a tremendous serenity 



little unwillingly, for nearly four years. They had tried 
to come back to their first love several times, but richer 
and richer contract-- were thrust upon them and vaudeville 
claimed them with such a loud voice that there seemed 
to be no denying it. Xow they are back and we shall see. 
The public is a fickle jade and the outcome is at 
mere speculation. 

Driving home in the twilight •with. them. Mr. Bushman 
had his chance. He believes in moti m pictures with all 
his heart. Me said : 

"I believe they are a great power, an incalculable 
{Continued on page S3) 



(1 a'enty-tht et > 




Foreign 



By MAURICE 



ENGLAND 



Above, Lady Diana Man- 
ners in the English pro- 
duction of "The Virgin 
Queen," surrounded by 
the ladies of her court. 
Right, some of the beau- 
tiful and authentic back- 
ground for the Italian 
film "Messalina." Below, 
Henry Victor in the 
British photoplay, "The 
Prodigal Son" from a 
story by Hall Caine 




Below, Matheson Lang, an 
extra and Victor Seastrom in 
"Fire On Board" a Swedish 
film directed by Victor 
Seastrom 




1AM glad to confirm what I said previously. England is 
awakening, is now very much awake, and I have noticed, 
amongst others presented during the last four weeks, three 
pictures of decided merit, one of which contains scenes which 
might even bear the signature of D. W. Griffith. 

One must certainly remember that Miss Mae Marsh who 
plays the lead in it, is American, but the producer is British 
and he has succeeded in making one of the best pictures 
England has so far produced. The title of the picture is 
"Paddy-the-next-best-thing." The other two pictures are "A 

Royal Divorce" of which I 
spoke in detail in my last 
article, and "The Virgin 
Queen" the new color film 
directed by J. Stuart Black- 
ton. Both are well pro- 
duced and can favorably 
compare with the best pro- 
ductions of today. 

Let me just mention that 
"The Prodigal Son" from 
the book by Sir Hall Caine, 
and which has just been 
presented to the Press at 
the Covent Garden Theatre. 
London, is the longest pic- 
ture made in England ; as 
the producer wished, con- 
trary to the usual custom, 
to follow page by page all 
the incidents of the book 
and reproduce them on the 
screen. . I repeat, it is cer- 
tainly the longest English 
picture, but the few inter- 
esting dramatic scenes are 
lost in the 17,000 feet of 
film. 

FRANCE 

When Henry Diamant- 
Berger was on location recently completing the 
sequel to "The Three Musketeers," he paid a 
visit, with some members of his company, to 
the great French tragedienne, Mme. Sarah 
Bernhardt. It was then announced that she 
would appear in a film directed by Diamant- 
Berger. It will be remembered that Sarah 
Bernhardt appeared in two or three films made 
before and during the war, amongst which are 
"Tosca" and "The Story of Queen Elizabeth." 
A friend of mine who approached the secretary 
of the Paris Theatre belonging to Mme. Sarah 
Bernhardt, told me that he did not think that 
the celebrated actress would be able to work at 
all for the cinema owing to her health which 
has given her much trouble of late. * 

Among the latest important French films pre- 
sented is "La Bouquetiere des Innocents" which 
is a historical film of the time of Henry IV. 
A very interesting prologue begins this picture 

*Since this was written the "Divine Sarah" has 
given up the battle with ill health and gone to her 
eternal rest. — Editor. 




( Twenty-four) 



Films 



ROSETT 

during which iii different pathetic scenes, we are shown one 
of the good acta which Eienn IV used i i do so often and 
which characterized him-. This prologue is ol a sentimental 
nature and contains some verj attractive romantic scenes 

SWEDEN 

Among tlu' t i ! 1 1 1 > nude in Sweden during the last few 
months is "Fire on Board" directed b) Victoi Seastrom. The 
scenario is written bj the well-known Swedish author Hjalma 
Bergman who is also well known in many other countries 
his hook "Love's Crucible." The action of "Fire on Board" 
takes place in great part on 
hoard a ship and is full of 
dramatic excitement. It is 
a story of the fight of two 
men for a woman. ( hving 
to the limited space it has 
thru the fact that the action 
is going on within the rails 
oi the ship, the picture has 
a fascinating grip on the 
spectators. The part of the 
film where the ship is sink- 
ing is very sensational and 
is likely to be unique in the 
history of the film. The 
leading artists are Matheson 
Lang, the well known 
English stage actor, Victor 
Seastrom, and Mrs. Jenny 
Hasselqvist. the latter 
the greatest Swedish trage- 
dienne. 

During the present year, 
the Svenska Filmindustri 
will make a considerably 
greater number of films 
than before. The staff of 
Swedish actors is increased 
and furthermore the im- 
portant Russian film man 
Dimitri Buchowetzki, the 
producer of "Danton" which 
was shown in America under the title of "All 
For A Woman" has been engaged. The scenario 
of one of the films which Buchowetzki is going 
to make has been written by himself in col- 
laboration with the Hungarian author Alfred 
Lekete. The name of this film will be "The 
Masquerade of Life" and will show the in- 
dividual struggle for happiness, gold and love. 

RUSSIA 

One seems to ignore what is done in Russia 
with respect to pictures. Since we heard of 
Soviet Russia, we have not heard- very much 
about the cinema industry there. I am informed 
that during the months in which poverty- 
reigned a society called "Russ" was formed 
and different pictures made. All of these photo- 
plays deal more with Russian customs and 
habits than anything else and are consequently- 
very characteristic. I have secured some pic- 
tures of one of these films which is called 
(Continued on page 81) 





Film Gaumonl K .burtl 



Above, a charming bit from 
the French historical photo- 

?lay "La Bouquetiere des 
nnocents." Left, atmos- 
phere from "Les Opprimes" 
showing the charming old 
Guild Halls of Belgium. 
Below, Asta Neilsen, whose 
"Hamlet" we know over 
here, in a German picture 
called "The Downfall" 



A typically Russian 
group from the Russian 
film "Polikuschka" made 
from a story by Leon 
Tolstoi 





(Tzventy-five) 



r 



V , 



~z. 




s 






/z 



Photograph by Edwin Bower Hesser 



TRILBY 



Andree Lafayette is a young French cinema actress who was brought 
to this country by Richard Watson Tully to play the title role in 
"Trilby." Gerald Du Maurier, son of the novelist and naturally familiar 
with his father's conception of Trilby, has declared her the ideal type 
for that ill-fated heroine. She does look like the familiar Du Maurier 
drawings. Another claim to distinction this talented girl has is that 
she is a direct descendant of General Lafayette 



(Twenty-six ) 




Little Old New York 



By PATRICIA DOYLE 



A story of early New York days when Bawling Green was a park and lower Manhattan was a resi- 
dential district; and Robert Fulton was about to launch the first steamboat; and names like John Jacob 
Astor, Cornelius Vanderbilt. Henry Brcvoort and Delmonico were just beginning to mean something 



T] 



'HIXGS do be comin' too thick and fast for this 
owld mon." opined John O'Day, lifting his bent 
back from the peat bos* from which he had been 
cutting poor man's fuel in big square clumps. "Whist 
now, Alannah. howld yer peace. I'll be \vi' ze." 

Dancing up and down before him in a whirl of excite- 
ment was Patsy, his daughter. Tears stained her cheeks 
but laughter curled her lips. She scowled and smiled with 
one motion. Only the Irish can do this. 

"They do be taking all our things father — the sheriff 
and the landlord and two dirty spalpeens from up Darragh 
way — your great big chest, father is gone — divvle a chair 
to sit on or bed to sleep in will be left to us — haste 
father " 

"Mind yer tongue, lass." her father answered stepping 
swiftly toward her. " 'Dirty spalpeen' and 'divvle' is 
divvle a word for a lady to use. But what for are ye 
smilin' whin such misfortune comes to yer owld father?". 

"Oh this letter," Patsy answered waving a bulky en- 
velope toward him. "It seems like good news but Pat 
nor me — nor I — cant understand it altogether." 

And good news it was; just in time too for all sorts of 
reasons. John O'Day's brother had died over in America, 
which was no particular loss to John for they had been 
estranged for a great many years. But his brother was a 
rich man and he had left all his vast fortune to John's 
son Patrick; instead of leaving it to his second wife and 
her son who had come between the brothers long ago, and 

(Twenty-seven) 



for whom old John cherished a deathless enmity. This 
was mighty good luck for John; for John had fallen foul 
of the world of wealth and ease and had spent his life in 
impracticable dreams of Irish freedom and Irish progress 
and with typically Irish sentiment had overl' oked en- 
tirely his own freedom and progress. Ireland must be- 
free, but it didn't matter so much that his children were 
often close to starving and cold with neglect. Patricia 
was a hardy youngster and had survived but Patrick who 
was ailing from birth was now a helpless invalid. 

O'Day's household goods meagre tho they were, were 
to be sold at auction for his debts on this pleasant summer 
day in the year of Our Lord 1820. With the arrival of 
the letter from Xew York he let them go cheerfully. 
Lamentations were turned into rejoicing and for the first 
time in John O'Day's life some practical plan was 
on foot for hastening them to America. They had need 
for haste, because by the terms of the will which provided 
that in the event of the non-appearance of Patrick ( ►'Day, 
the money was to revert to his stepson. Larry Delavan. 
the time had almost e'apsed for claiming the fortune. 
Unfortunately much valuable time had been lost while 
the lawyer had dug them out from their obscurity. 



Larry Delavan stared suspiciously at the two figures 
who stood somewhat dubiously before him in the hall of 
his spacious New York residence. 






CLASSIC 




Larry Delavan stared suspiciously at the two odd figures before him. "We be John 
O'Day and his da — son, Pat," the old man muttered, "and we've come over the sea 
from Ireland to claim yer stepfather's fortune. I hev all the proofs in me coat. What's 
to do now?" The younger one only stared back 



"We be John O'Day and his da — son, Pat," the old 
man muttered, "and we've come over the sea from Ireland 
to claim yer stepfather's fortune. I hev all the proofs 
here in me coat. What's to do now?" 

"Good Lord ! I dont know," ejaculated the young 
Delavan ungraciously, shaking a mental fist at this malign 
trick of fate's that had cheated him out of his stepfather's 
rich inheritance at the last minute. "I suppose you'll have 
to stay here. I'll have Reilly show you to a — to your 
room." 

"Father," cried the young Pat bursting into tears when 
they were safely behind the door, "I can never do it. 
You shouldn't have asked me to — Such a handsome young 
man — such a fine gentleman — and it's really his money. 
We haven't any right to it. We " 

"Howld yer tongue," John O'Day interrupted angrily. 
"Is it our fault yer brother Pat died on shipboard? God 
rest his soul !" he added hastily blessing himself piously. 
"He's better off all dead than half dead, Patsy child, ye're 
after knowin' that. Yer uncle's yer own ain't he? Blood 
kin? We're entitled to his money, but even if we ain't, 
we be going to claim it. So now ye are Patrick O'Day, 
nephew to the late lamented. Whin ye git the money ye 
can do as it plazes ye. Come cheer up Colleen, no more 
tantrums and bad scran to the Delavan !" 

So here was a sorry situation, not to say perilous. 
Unwelcome guests in an unwelcome masquerade. Un- 



welcome masquer- 
ade to Patricia 
anyway, who 
woman - like and 
characteristically 
Irish had Compli- 
cated matters by 
promptly falling 
in love with the 
handsome, sulky, 
reckless Larry. 
Being a boy under 
the circumstances 
was a handicap to 
say the least . . . 
but still if she had 
stayed a girl she 
wouldn't — 
couldn't be near 
him at all, which 
fact somewhat 
compensated for 
the hateful 
trousers. 

It was hard re- 
membering tho. 
The im puisne to 
snuggle against 
Larry was at 
times almost irre- 
sistible, but boys 
didn't do that. She 
spent hours 
brushing out her 
short jonquil yel- 
low hair whose 
sacrifice she still 
wept over in se- 
cret. Boys cer- 
tainly didn't do 
that". She had 
tried to smoke 
too, one of the 
long slender pipes 
the young bloods 
of the day were 
affecting ; but it had made her fearfully ill and young 
Fitzgreen Halleck and Washington Irving, Larry's cronies 
had laughed at her and she had stamped her foot and run 
out of the room. In retrospect it hadn't seemed a par- 
ticularly virile or manly performance. She must be more 
careful. Hang the old money anyway . . . Larry hated 
her for an interloper. 

But when old John O'Day begrudgingly died and she 
was left utterly alone Larry Delavan had a change of 
heart. He saw in her then only a helpless forlorn lonely 
youngster in a foreign land, grieving for the only one who 
was dear to her. He was kind to her then, and Pat came 
so near to giving herself away that she was on the point of 
confessing the truth a dozen different times. 

But it was wonderful to have money. It provided 
endless entertainment and after her first tearful grief Pat 
began to liven up again and be her own cheerful saucy 
dare devil self. Larry was her gravest care. He spent 
most of his time gambling and drinking, attending prize 
fights and balls with equal ardor. There was one mincing 
miss just home from London that Pat hated with all her 
heart. Her name was Ariana de Puyster and Larry 
loved her — or at least Pat thought he did. She played 
the piano, "Maiden's Prayer" and "Hearts and Flowers" 
and that sort of thing. Very sentimental. Larry seemed 
to like them tho. So Pat unpacked her harp that she 
hadn't touched since she had left the old country. 



(Twenty-eight) 






She used to ^ihk in a sweet throat) soprano 

"I he harp that once thru I ara's halls 
The soul of mu>iL' shed ; 

Now hangs ai mute on rara'a walls, 

Vs tlio that soul were dead." 

She really played it remarkably well and she had an 
inexhaustible repertoire ol old Irish ballads and folk 
songs, plaintively melancholy, as her countrj and its 
people are at heart, for all the comic opera Irishmen one 
reads and hears about. Sometimes she would twang the 
strings suddenly and unexpectedly into one of the rollick- 
ing Irish jigs. Every me loved Pat but no one could ever 
tell what she was going to do 
next. 

Larry seemed to like her 
playing too. Because, once 
when Miss Betty Schuyler 

whom Pat also detested, was 
giving a party at her big house 

across the lawn from Larry's, 
and Ariana was playing sweet- 
ly on the piano for the assem- 
bled guests in general and 
Larry in particular. Larry had 
sneaked back across the lawn 
to listen to Pat playing her 
wistful Irish melodies and 
hoping he would come. She 
almost told him that night. He 
stood at the gate looking very 
hard at her and she trembled 
inside scarce daring to breathe. 

"You're a queer one, Pad- 
dy." he said, "nice little kid. 
I'm awfully fond of you." 

And "I love, love, love you." 
Pat's heart was sighing so loud 
she thought he must hear it, 
and blushed and ran away. 

"Just like a girl !" she 
thought afterwards. "He's just 
stupid not to know it." But 
Pat was afraid now for the 
falsehoods she was involved in 
and held her peace as best she 
might. 

At about this time Robert 
Fulton was going to launch his 
first steam boat. Wise heads 
wagged and said it couldn't be 
done, but the reckless foolish 
ones were crazy to invest their 
money in the venture. Larry 
Delavan was one of these. 
The only trouble was he didn't 
have any money to put up. 
Whereupon Pat gaily hood- 
winked her lawyer, old John 
Jacob Astor into giving her 
ten thousand dollars, a goodly 
sum for those days, and 
promptly offered it to Larry. 

To Larry's everlasting credit 
and Pat's intense chagrin he 
refused to take it. She almost 
wept. "Such a pretty trick 
I played on old Astor, to get 
it," she wailed. "Neat as 
Sunday pants. And now you 
go and act uppity. You're 
a hateful old thing and I — 



"Why Paddy, boy," the bewildered I ai 

"I didn't knOW you fell ll 

wh.it I'll do i live iik- five 

boi i iw ii i"i five days an. I 
A. mi can have it to keep," said Pat, beaming again, 
"No," replied I air) 'You • ly, a big 

been arranged rver in the tin- house between Bull) 

Mi- wster an<l a man called the Hobokei 

beast, hut still Bully Bop has training and skill on hii 

side, 1 think he'll win hut tin- heavy bettii 

other one. I'm e ting to bet on Bully Bo) and I'll 

that ten thousand »ur<\ Yoti'ie a great one j 11 - 1 • 

Bfer it to mi'. Better give it back to Mr. Astor like 



He stood at the gate looking very hard at her and she trembled inside 

scarce daring to breathe. "You're a queer one, Paddy," he said "nice little 

kid. I m awfully fond of you." And, "I love, love, love you!" Pat's heart 

was sighing so loud she thought he must hear it 







' Twenty-nine) 



CLASSIC 




I 







With one twist he tore the flimsy silk shirt half off. "Stop!" screamed Pat, "Oh, stop! 

I'm a girl." "What the hell?" burst from the amazed Terror who stood stock still 

staring at her with his mouth hanging stupidly open 



•a good boy." And he patted her affectionately on the 
shoulders. 

"You darling, you darling," Pat's heart was saying this 
time but she had to be content with Larry's decision. 

"Now Reilly," said Pat on the night of the big fight 
in her most wheedling tones, "I'll buy you a pound of 
your favorite tobacco if you'll do something for me." 

"Shure an' I will, gossoon," old Reilly replied "whativer 
it may be.' 



"You've promised," said 
around the old man's neck. 

"Whist b'y," said Reilly, 
"another hug like that and 
this old man will turn up 
missing. Well, what div- 
vlement is it now you're 
after wantin' to do?" 

But he looked doubtful 
when Pat told him what 
it was, and the bribe had 
to be doubled, and it took 
all Pat's coaxing and ca- 
joling powers, which 
heaven knows, were prac- 
tically irresistible, before 
he finally gave in. 

In the spacious fire- 
house was a mob of im- 
patient men. A prize fight 
was an event in those days 
of comparative calm. 
Bowling Green was a 
park, lower Manhattan a 
residential section, the fire 
house a rendezvous for all 
the young gallants in town 



Pat and threw her arms 



LITTLE OLD NEW YORK 

Fictionized by permission from the Cosmopolitan 
production of the adaptation of Luther Reed from 
the stage play of Rida Johnson Young. Directed by 
Sidney Olcott and starring Marion Davies. The 
cast: 

Patricia O'Day Marion Davies 

John O'Day ; J. M. Kerrigan 

Larry Delavan „ . . Harrison Ford 

Robert Fulton ' . Courtenay Foote 

Washington Irving Mahlon Hamilton 

Fitzgreen Halleck Norval Keedwell 

Henry Brevoort George Barraud 

Cornelius Vanderbilt Sam Hardy 

John Jacob Astor Montagu Love 

Mr. De Puyster Riley Hatch 

Reilly (Larry's servant)... Charles Kennedy 

Bunny (The Night Watchman) ... Spencer Charters 

Bully Boy Brewster Harry Watson 

The Hoboken Terror Louis Wolheim 

Delmonico Charles Judels 

Ariana de Puyster Gypsy O'Brien 

Betty Schuyler Mary Kennedy 

Rachel Brewster Elizabeth Murray 

Chancellor Livingston Thomas Findlay 

Mrs. Schuyler Marie R. Burke 



— Larry of course and his pals in their long tight trousers 
and frilled shirt fronts ; farmers in their wrinkled smocks ; 
young toughs in short black- velveteen jackets handker- 
chiefs tied around their throats ; coachmen in their coats 
with many little capes cracking their whips; firemen in 
their quaint impractical uniforms ; a varied and motley 
throng of men. 

The two fighters were at it, pounding bare flesh, punch- 
ing and jabbing, responding to the cries of their various 
backers with fresh aggressiveness. Larry Delavan was 

unhappy. Brute strength 
was triumphing over skill. 
The Hoboken Terror had 
floored his man twice now, 
but Bully Boy had not 
taken the count either 
time. He was badly 
winded tho. Looked like 
a sure thing for the Ter- 
ror. Bully Boy couldn't 
stand up under it much 
longer. He would give out 
in another round. 

But there never was 
that other round. 

Suddenly with its clang- 
ing warning the fire bell 
had rung out. The Ter- 
ror held his hand. Bully 
Boy straightened up. The 
crowd began to scatter 
getting out of the way. 
The firemen sprang to 
their clumsy equipment. 
The fight broke up with 
no decision. The crowd 



(Thirty) 









surged to the street Everything was read) Bui : 
was no fire. The dazed crowd suddenly knew itself sold 

It was a false alarm. Hut who had run^ the lull 

* 1 1 "> that Delavan am! lu- crowd, I'll bel a hat 1 " 

suddenly bellowed the >1 one of the rerror's 

backers, "lit- had money on Bull) Boj 

"Delavan, Delavan," the crowd began to yell, thirsting 
for vengeance on the man who had spoiled their sport. 

'I'll horsewhip the ." snarled tin rerror, "for 

stealing my fight." 

"Tii tlu- whipping post," roared the crowd ami following 

tin- burly form of tin- llobokcn Terror they tore down the 

street to I arry'a house 

\a for that young man he had been overcome b) t 

terrible suspicion at the first -omul of the lire bell. He 
hurried home, hut he did not get there first. 

\t the sound <.<i the terrttic commotion outside the house 
Pat opened the front door to confront an angT) 
mob. 

"Out of the way boy," the Terror 

cried threateningly. "We wants young 
Delavan." 

"What iU^ you want him for? 
said Pat standing her grouni 
but turning pale. 

"None of your damn 
business." answered one, 
and "he rang the tire bell 
and stopped the tight." 
cried a dozen voices. 

"No," said Pat 
throwing her head 
back as if for air. 
"He didn't ring it. 
i did. I hid in the 
tower on the stairs 
leading up to the 
bell. I could see 
you righting. I — 
I — wanted — any- 
wav. I rang the 
bell." 

"Of all the 
bloody impi- 
dence," thundered 
the Terror. "I'll 
beat the hell out o' 
you, vou young 
whelp'!" 

He seized the 
terrified Pat and 
rushed down the 
street with her slender 
body flung over his 
shoulder like a sack, the 
crowd pounding at his 
heels yelling like the pos- 
sessed. On the whipping 
block Pat was tied to a post, 
hands high up over her head 
The Terror stripped to the waist ^ 

with great drops of sweat glistening 
on his coarse hide, his undershot jaw 
thrust forward like an angry bull dog 
stood beside her with a long 
black whip in his huge hand. 

Pat closed her eyes. The long 
curling leather whistled thru the 
air and cut deep into her tender 
flesh. She shrieked aloud with 
pain. Once more the cruel thong 
marked its length across her 
back. 




Later, in the garden, Patricia murmured 
something about the luck of the Irish. 
"And anyway," she added, "the money is 
just as much mine now as tho it was really 
mine." Which cryptic utterance Larry 
seemed to understand very well 



"Tak< shirt," bawled the crowd, bi i hut 

The I ei roi started to ibe) 1 1<- untied Pal 

hands and she Staggered and would have fallen but 

hi in i and thrust her uprighl once more With 
twist he tore the flimsj silk shut hah 

"StOp!" -lie. lined I 'at "(lh, stop I I'm I girl!" 

"What the hell'" burst from the ama/ed Perror who 
stood stock still i n a moment his mouth hanging stupidly 

open. 

"So much the better," he said at last. "There's other 

of dealing with a girl." 
Me made a grab for her and the dum founded crowd 

n to rumble a dissent Just then I ai i \ and Ins friends 
broke thru the mass surrounding the whipping posl With 
■ me blow lie kn >cked the surprised 'I efTOr flat and picking 
up Pat carried her home, while bis friends laid about 
them with their canes with a righl good will. 

Larry's suspicions were well founded lie had 
il the details from the trembling old Keilly 
and had come tearing like mad to the 
whipping block. \s long as he lived 
!e would never forget that terror 
struck cry, "I'm a girl!" He 
looked down at the white tear 
stained face on his shoe 
and a wave of tender- 
surged up thru the man 
ike a tlood-tidc. "] 
what a fool I've been," 
he muttered, "what a 
blind fool." He bent 
and kissed the pale 
curved lips. ( It is 
never too late to 
acquire wisdom or 
to rectify one's 
t mistakes, i Pat's 

lips trembled and 
grew red and 
warm under his. 
I ler eyes opened. 
"Well," she 
said in amazing- 
ly calm tones, 
"what are you 
going to do with 
me now-" 

"Good Lord. I 
dont know !" an- 
swered Larry kiss- 
ing her again and 
fairly blushing to re- 
member how he had 
said the same thing 
once before. 
But it was not what 
Larry intended to do with 
her that was serious. It was 
what the Town Council would 
decide. For the Town Council 
had taken the matter up. It wa> 
a serious offense t:) ring the fire bell, 
t was equally serious for a woman 
to masquerade as a man. Besides, a for- 
tune had been acquired under 
false pretenses. (irave. ver\ 
grave. The Town Council shook 
its heads over the affair. It was 
a clear case certainly. The cul- 
prit must be punished. The only 
drawback to the pursuit of jus- 
tice was the culprit herself. 
( Continued on / 



(Thirty-one) 








GLORIA SWANSON 
A drawing by Hal Phyfe from a photograph by Edwin Bower Hesser 



(Thirty-two) 



At Lunch With Gloria 

By JEFFERY CARTER 

An interview with the most individually dressed woman <>n the screen, wherein 

request, her clothes aren't even mentioned and her undeniable bi tins are given a chance to air 



WE ii the curb outside the studio and de 

bated concerning the noi nday repast. The press 
.cut had some >ort of a visionary nk;i aboul a 
place in Hollywood where they had -crawly things 
painted en the wall. He was ignored with a proper tneas 
ure o! contempt. Some one else suggested the Writers' 
l~lul>, the Athletic Club, some more clubs, a hotel fre- 
quented l>> movie stars, another hotel' not frequented by 
movie stars, somebody's private house and a hoi dog 
wagon. 

Gloria stood apart, with pursed lips, as one struggling 
with a responsibility. Suddenly she brightened. "Oh 
yes," -he -aid, "That would be nice. We'll go there 
Come on." 

The nice place turned out to he the Writers' Club 

\ year or the literati of Hollywood and way 

stations bought a fine old private house on Sunset Boule- 
vard and turned it into a most charming club. The place 
where you eat is a great cool room with vaulted ceilings 
and widely scattered tables and pattering little Filipino 
servants in white duck. 

Cdor"ia started to sit down, then changed her mind and 
moved over to a far table. From the expression on her 
face it was plain that somebody in the dining-room was 
having the most famous back in the world turned on him 
— or- her. 

"Whatever you write about me." she said, picking out 
the salad fork. "Dont say anything about my clothes." 

"What's the matter with the clothes'" 

"Nothing is the matter with my clothes," -aid Gloria 
indignantly, glancing at the fur wrap she had thrown 
hack over her chair. "But I am tired of having people 



Stall to talk about Gloria ami end b) talking ah.. ut 
clothes. ne ha- called me < ceil de Millr- 

llOl - 

"I ,<it- of girls would he glad 'beg 

"True enough." said Gloria, taking th< 

hi- mouth. "I can remember when it would have g 
me a thrill t<> have had my clothe- talked about, 
summer in Paris I wa- in one of those big dressmaking 
salons with a young regiment of designers and manikins 
dancing attendance. It suddenly came to me how I 
to -it up nights trying to do something to my one cheap 
little dres> to make it last another season. It mad. 
laugh out loud." 

" \re you any happier ':" 

(iloria considered. "What - the use," -In- -aid at last. 
"of thinking whether you wish ybu had or you wish you 
hadn't. When the chicken i- once out of the egg, 
out of the egg. You cant return to any condition that 
has passed. It is futile for me to try to think whether I 
am- happier now than I would have been if something 
■1st* had happened — or hadn't happened.'' 

Gloria savagely jaSbed her salad fork int" a lettuce 
leaf and a cruel little sneer came into her eyes ... a 
look that faded into one of wistfulness. "The trouble 
is," -he -aid. "that you cant succeed in the world without 
ming public property. I wonder why those rotten 
little scandal sheets cant let me alone. If what they said 
were true. I wouldn't complain. But it i- terrible. I 
haven't any private life. They tell me if I sued them for 
libel, they would only he worse.'' The look of a fighting 
Swede came into Gloria's eye.-. "If it weren't for my 

baby, I would ..." 



This picture is from one of Gloria's not particularly recent photoplays but we have 

used it because it seems to us to represent more perfectly than we can put into words 

the gorgeous luxuriousness and alluring beauty of this radiant woman 




Thirty-three) 




Nobody found out just what she would do 
"At any rate, you wouldn't want to go 
back and be a Sennett bathing girl again. . . ." 
Gloria looked up suddenly. "I learned a 
lot from being a Sennett bathing girl." 
"About swimming?" 

"No. About acting. Comedy is a won- 
derful training. You have to get the points 
over so clearly. You exaggerate everything ; 
but in exaggeration, you learn just where 
the finished line has to go. Afterward, when 
you undertake another kind of acting, you can tone 
down your effects. It's like these artists who draw 
pictures with a few dabs and lines. They only learn 
to do that after they have mastered the art of the 
finished picture. The art of leaving out is the last 
touch you learn." 

Gloria smiled at a recollection that flashed across 
her memory. 

"I remember when I left the Sennett comedies. 
There was just one day too many of dodging pies 



CLASSIC 

and being hit with water from hoses and going 
around bare legged. I simply walked out. Then 
1 came over to the Lasky studio. Mr. Cecil de 
Mille saw me and gave me a part in 'Male and 
Female.' The first thing I had to do was to take 
off most of my clothes and scramble into the water 
again. I thought I had left the frying pan for the 
fire." 

"But you learned about acting from Cecil." 
"Indeed I did. I learned that the way to act is 
not to act. I learned that the less you actually do, 
the more you convey." 

Suddenly, out of a clear sky, Gloria remarked : 



By way of a 
pleasant contrast 
to the picture on 
the other page 
are these three 
informal studies. 
We call your at- 
tention to 
Gloria's remark- 
ably large and 
expressive eyes. 
We hope you are 
reading this in- 
terview because 
Gloria's honeyed 
tongue has 
dripped words 
of wisdom 
worth anyone's 
attention. In 
her ornamental 
head is a brain in 
perfectly good 
working order 



"I wish they would cut out the villains." 

And answering some one's question, 
she said, "There aren't really any vil- 
lains ; we are all villains ; it's the same 
thing." 

"Oh yes, perfectly clear." 

"Well," she laughed. "I mean no one 
is a villain all the time. I dare say a lot 
of bandits are faithful, tender husbands. 
We are all villains Monday morning and 
saints Monday afternoon. There is no 
such thing as a good man or bad man. 
There are simply men who re-act differ- 
ently to different situations." 

"Well, us authors must have our vil- 
ains. 

"It isn't the authors," said Gloria glar- 
ing back over her shoulder at a long 
(Continued on page 75) 



(Thirty-four) 




Photograph by Ira L. Hill 







IDOL WORSHIP 

Here is the beauteous — we never can resist putting "beauteous" 
in front of Betty's name — Blythe sitting on the mantel like a 
parlor ornament or an east Indian idol . . . well . . . we'll fall 
down and worship Betty any time she will let us. She has started 
work on her fourth Whitman Bennett production. Wish we were 
a Kleig light ... or something. . . . 




(Thirty-five) 




The Heavy 

Ernest Torrence, the screen's most villainous 
villain tells his story 

to 
JANE H. LIPMAN 



"One may smile and smile, and be a villain' 

— Shakespeare. 



Fhotograph by Melbourne Spurr, L. A. 

Py^OR, "one may smile and smile, and be a villain!'' 
I H So said Billy Shakespeare long, long ago — and 
the words were echoed by Henry King, the suc- 
cessful motion picture director of "Tol'able David," 

^nd other large productions in Hollywood, as he sent 

for Ernest Torrence, prominent comedian of musical 

comedy farne in New York. 

Thus a wonderfully fine comedian was submerged by 

the cruel and domineering heavy of "Tol'able David," 

and Mr. Torrence planted himself firmly in the depths 

of motion picture endeavors. 

"It had always been my dream, my greatest desire. 

from the time of my arrival in America in 1911, to 
enter motion picture work," said Mr. Torrence as we sat in 
his cozy Holly- , 
wood bungalow 
and he explained 
how the speaking 
stage had lost a 
fun-maker, and 
the silver sheet 
gained a heavy. 

"My constant 
entreaties to mo- 
tion picture di- 
rector friends at 
the Lambs Club, 
and in other 
theatrical circles. 
were all laugh- 
ingly brushed 
aside. 'Entirely 
too tall,' said one. 
'You wouldn't 
film well at all,' 
said another — 
but I kept nag- 
ging and urging 
for even an extra 
part, a simple 
film test, to prove 





At the top of the page is Ernest 
Torrence as he really is. Above as 
Emilio in "Singed Wings" and left a 
character portrait. This man made the 
astounding leap from musical comedy 
comedian to the heaviest of screen 
villains. For this sort of thing he is in 
constant demand 



(Thirty-six) 



CLASSIC 

either my failure 01 .1 possible chano 
success. Bui words and prayers fell on 
deaf ei ns. ami I continued to wik in 
musical corned) on Broadway Bj then 
I had begun to feel m) constant insistence 
u;is perhaps after all, useless. 

"Then came Mr. King's proposition. I 
was more thrilled than words can exj 
I was to be given 1 chance in pictures 

1 mere extra, bul a real pari in whal 
Mr. King assured me would be one of the 
est films oi the year Imagine my 
chagrin, my feeling of utter despair when 
mj director friend calmly announced my 
role was to be a very heavy, dramatic one! 
I felt almost afraid. 1 was outwardly 
calm, however, and as many other men 
and women have nut the great turning 
point in their careers, 1 also met mine. 
I feel now that my 'villain' in my first pic- 
ture was a go^nl. solid answer to any fears 
I may have had that my sense of comedy 
would overshadow the opposite emotions 
and passions 1 had to throw into the char- 
acterization. 

"I was afraid my former work would 
hinder me." Mr. Torrence had told Di- 
rector King during the filming of Tol'able 
David. Mr. King's answer was an ex- 
pression of the firm belief that before a 
man can be a real actor he must have 
been a comedian. 

"As I see it now," continued Mr Tor- 
rence, "Comedy and Tragedy are but twin 
souls in the art of acting. It is only a step 
around the corner to go from a laugh- 
provoking old character into a hateful, 
despicable one." 

Just before Tol'able David was shown 
at the Strand Theater in Xew York, Mr. 
Torrence, who had then returned from 
Hollywood, was considered for a heavy, 
dramatic role, in a film starring John 




Photograph by Clarence S. Bull 



Ernest Torrence in his first screen role, the most depraved 
of the unspeakable Hatburns in "Tol'able David," an ex- 
traordinarily vivid character interpretation. Below, as that 
endearing old good-for-nothing Mahaffy in "The Prodigal 
Judge." He is now playing Clopin in "The Hunchback of 
Notre Dame" 



1 




Barrymore. but the director con- 
cluded that because of his unction 
as a comedian, be could never be a 
successful dramatic actor. 

"I hope he attended the opening 
performance of Tol'able David." 
said charming, little Mrs. Torrence, 
who had sat quietly during our in- 
terview. "I was actually afraid of 
the man Ernest seemed to be on the screen. 
I had always known him as such a jolly per- 
son, you know." 

It is indeed hard to realize the real Er- 
nest Torrence is the bad man we see in the 
films. In several pictures, however, he has 
portrayed rather lovable characters, as 
"Mahaffy," in "The Prodigal Judge," a 
Vitagraph picture made in New York, and 
"Emilio," a half-witted clown in "Singed 
Wings," a west coast Lasky production. 

"We have just finished what I think will 
be the biggest picture of the year," Mr. 
Torrence remarked, referring to the Para- 
mount special, "The Covered Wagon." 

"In this film I am seen as a very "bard- 
boiled egg,' as they say, but as I am on the 
{Continued on page 77) 



(Thirty-seven) 




Hollywood Homes 

Views of the house and gardens of the beautiful California home of 
Mr. and Mrs. Charles Ray— and "Whiskers" 

In the upper left hand corner is a bit of the "rest porch" in the rear, 
overlooking the bathing pool, the charming little tea house and the 
gardens. The floor is of smooth glazed tiling. Upper right, Mr. and 
Mrs. Ray and their inseparable companion, "Whiskers." Below is the 
front elevation, charming in its dignity and simplicity 














Photograph by J. C. Milligan 



The Bathing Pool 



This lovely spot is a corner of the magnificent bathing pool 
which seems to be a necessary part of all these beautiful 
estates. The rear of the house is shown and the garage and 
a little glimpse of the extensive and picturesque gardens. 
An air of well-bred contentment broods over this picture. 
We cant imagine anything but charming things happening 
here, like lawn parties and moonlight bathing parties and 
graceful lolling in the sunshine and shade. We vote this 
view the pleasantest of all. Next month Classic will show 
you Norma Talmadge's new house, interiors and exteriors 



(Thirty-nine) 





A Song 
Of The Screen 

Pictures and Verse 
By DOROTHY ROSECRANS BRIGHTON 



Two young birds that bill and coo 
As no birds of our ken do, 
Always herald love's young dream 

— Upon the screen 
And the sunny-curled young thing 
Dances playfully in the spring 
As the hero comes in view 

— Upon the screen 
When the young wife's sore and quits. 
Baby son develops fits, 
Crying "Doesn't ma love pa?'" 

— Upon the screen 
Mothers totter, frail and white, 
Reading Bibles all the night, 
Waiting for the wayward son 

— Upon the screen 
When the villain's work is o'er 
He's not wanted any more, 
A violent death's the thing 

— Upon the screen 



Artist always wins the'prize 
Just before his child-wife dies 
And they sail for sunny Spain, 

— Upon the screen 
Cast upon a desert isle 
Marceled cutie spends a while 
Learning butlers are real gents 

— Upon the screen 
Situations like these are 
Much more plausible by far 
Than some others you may see 

— Upon the screen 
And the reason, critics say 
Js because draw-mah today 
Is still in swaddling clothes 

— Upon the screen 
This may all be very well 
But, poor devil, try to sell 
Any movies unlike those 

— Upon the screen. 




(Forty i. 






i 



Half 
Chinese 

and 
Wholly 
Lovely 

By BARRETT CLARK 

Photograph by Grenbeaux 



SHE says it was her 
French mother who did 

it. 

In which case 1 am in 
favor of giving Alsace hack 
to Germany and burning 
down the statues of La- 
fayette. 

For of course her name 
should have been something 
in Chinese that sounded like 
Limehouse Nights stories 
. . . something about scar- 
let petals and silver rivers 
. . . something about white 
almond blossoms and rose 
leaves. I know a dark 
smelly little dump down in 
Chinatown where the cock- 
roaches gambol and frisk 
around the tables ; and they 
call the place. "The Abode 
of Ten Thousand Jewels." 
And then they had to name 
this lovely peach blow half- 
caste girl "Etta Lee." 

Well, it's discouraging. 

But anyhow she can cling 
to the distinction of being 
the only Eurasian girl in 
the fillums. Every once in 
a while, in this picture or 
that, you see a willowy, 
lovely oriental girl go slip- 
ping thru a scene like the 

memory of a dream. That's Etta Lee (whose name ought 
to be something in Chinese meaning The Breath of the 
Dawn). 

She was the Chinese girl in Katharine McDonald's 
"Infidel" (about the worst picture ever made in the world 
by the way). She bad a little part in Constance Tal- 
madge's "East Is West" and a better one with Ethel 
Clayton in "The Remittance Woman." They almost 
gave her the part of the Mandarin woman in "Java Head," 
but abandoned the idea because she had had so little 
experience. 

Miss Lee lives in a cute little apartment on the opposite 
rim of Los Angeles from Hollywood. She burns punk 
sticks and somehow contrives' to give the impression of 
old bald priests in far-off Bhudda temples out beyond 




Every once in a while, in this picture or that, you see a willowy, lovely oriental 
girl go slipping thru a scene like the memory of a dream. That's Etta Lee (whose 
name ought to be something in Chinese meaning The Breath of the Dawn) 



the edge of the morning . . . of passion (lowers growing 
in the walls of forgotten ruins . . . cherry trees blooming 
on the banks of the Chinese rivers . . . old jade . . . 
smoke rising in slender mauve spirals against the black- 
recesses of old altars. . . . 

But otherwise, she isn't at all Chim - 

The sad and unromantic truth is that the fair Ktta is a 
high brow young lady with a university degree and a 
teacher's certificate. She knows more about Maeterlinck 
than. Confucius, more about lip sticks than Tao. Her 
father was a Chinese physician, her mother a very charm- 
ing and well educated French lady. She spent her girl- 
hood in California where they gave her a university edu- 
cation. Then she went to Hawaii to teach school to 
i Continued on page 



I Ft. rty-one) 



Frank Lloyd's Jackie Coogan 



By FAITH SERVICE 



THE Classic- 
editor said to 
me in her cus- 
tomary heartless 
fashion of a step- 
mother to an ugly 
duckling: "Go and 
see Frank Lloyd. 
In the altogether 
possible contin- 
gency that you 
dont know that he 
directed the Coo- 
gan 'Oliver Twist' 
I shall enlighten 
you ; and I want 
you to find out so 
far as your feeble 
powers will permit 
just what he thinks 
of Jackie, just 
what he thought 
about him, day by 
day, in every way ! 
I dont. remember, 
care in the least 
what he thinks 
about you, and 
assuming that he 
does find the time 
to give you a 
thought I shall not 
print one single 
word of it. be it 
flattery — or fact." 

You can put 
any construction 
you please upon the 
above asterisks. 
They're often 
used, you know, in 
cases of compul- 
sion like the one 
cited above. Mrs. 
Glyn uses, 'em 
'frequent.' too . . . 
However, think 
your own thoughts 




Photograph by Witzel. L. A. 

A late portrait of Frank Lloyd, whose sympathetic comprehension of the 
genius of Jackie Coogan made possible that beautiful photoplay "Oliver 
Twist." Mr. Lloyd has just finished directing "Within the Law" for 
Norma Talmadge. He invests his productions with humanity rather than 
sentimentality, a rare and invaluable quality for a motion picture director 

to possess 



some of you will be right. 



"Tell me about your Jackie Coogan," I said. 

Director Frank Lloyd looked as tho the subject pleased 
him hugely. He leaned forward, clasped his hands, and 
his smile was almost tender. It was a smile that was 
good to see. One could tell that he was thinking not 
only in his directorial capacity of "Oliver Twist," but 
also about a little boy of whom he is paternally fond, 
and of a great artist to whom he would seek to pay 
tribute. 

"Jackies doesn't belong to any one person," Mr. Lloyd 
said, "he belongs* to the world. He has a great soul. He 
is not a child prodigy. He is not precocious in the way 
that word is usually meant. Jackie is utterly natural, abso- 
lutely spontaneous and wholly unconscious and unforced. 



"I didn't realize 
until we were thru 
with 'Oliver 
Twist' what a 
great artist Jackie 
really is. You 
dont realize it, be- 
cause he is so 
natural. You never 
feel that you are 
directing him. 
You never feel 
that he is acting 
. . .he isn't, as a 
matter of fact, he 
is wholly feeling. 

"Jackie's great- 
ness is in his in- 
tuitive under- 
standing — and in 
his eyes. He has 
the most extraor- 
dinary eyes I have 
ever seen. Every 
grief, every joy, 
every emotion and 
shade of emotion 
are mirrored in 
those great eyes. 
The rest of his 
face is just like 
thousands of other 
children. 

"But put the 
idea out of your 
mind, if it is there, 
that Jackie is 'old.' 
He is thoroly a 
child. He prefers 
to play with chil- 
dren, and when he 
plays with them he 
plays honest-to- 
goodness kid 
games. 

"He has, for- 
tunately, the right 
kind of parents. 
They are bright, 
simple people, who love him to death, of course, but who 
keep him unspoiled and a child. They dont pamper him 
and they dont allow him to become impressed with his 
own importance. He has no conception of it at all, and 
I have seen him shrink away from crowds or from re- 
porters or interviewers who approach him as Jackie 
Coogan, Screen Star. He is a little boy and he prefers 
to be met upon his own little-boyish ground. 

"Jackie will go on . . and on . . . Some child 
'prodigies' go so far and then stop, but Jackie, as I have 
said, even tho it seem paradoxical, is not a child prodigy. 
He is a genius and he 'has it.' There will come a time, 
perhaps, when for reasons of education and because he 
will have reached the awkward age, Jackie will leave the 
screen for a short while. But he will come back again 
and the man will fulfil the boy. I know that. 

"Before we began to make 'Oliver Twist' Jackie was 



(Forty-two ) 















I kf 



crai) foi an electric train ami tracks. He 
has never had one lit-- father told him that 
if he would be ■ (, r " (U ' hoy during the Rlra 
ing of the picture and concentrate ver) hard 
that when we were finished he would jive 
him the train. But 1 beat his father to it. 
When we won- finished I boughl him the 
train and one afternoon I invited him to my 
hiui.se without telling him that I had it foi 
him. He came with his grandmother and 
when they arrived and he saw the tracks 

all spread out 00 the floor he thought that it 
belonged to my little girl with whom he often 
plays and that she had got one first. But 
when 1 told him it was for him he simply 
dropped to the floor beside it. utterly iost and 
absorbed. His grandmother prodded his 
politeness. "Jackie," she said, "what do 
you say to Mr. Lloyd?" Then Jackie paid 
me a most tremendous tribute. He looked 
up at his grandmother for a moment with 
those great and grateful eyes and said, 
simply, "Oh, grandma, what can I say?" and 
then turned back again. 

"That is Jackie. His emotions are au- 
thentic. He never exaggerates or pretends. 
His small body is all child, but it houses a 
great soul and thru the clear, miraculous 
windows of his eyes that soul shines surely 
thru. One may spend a casual afternoon with 
this child and discover nothing at all remark- 
able about him, nothing at all that dis- 
tinguishes him from any other bright 



Photograph by 
Edwin Bower Hesser 





"Jackie," says Frank Lloyd be- 
lying the title, "doesn't belong 
to any one person. He belongs 
to the world. He has a great 
soul. He is not a child prodigy. 
He is not precocious in the way 
the word is usually meant. He 
is utterly natural, absolutely 
spontaneous and wholly uncon- 
scious and unforced. He is a 
great artist" 



youngster, no evidence of precocity ; 
but one could not work with this 
malleable little bit of eager humanity 
for any length of time without label- 
ling him genius. It would be to 
stultify one's intelligence otherwise." 



This then is Frank Lloyd's opinion 
of Jackie Coogan. Frank Lloyd him- 
self is a man of acute perception and 
unmistakable discernment. He has 
been directing pictures for a long 
time and has watched the progress 
of stars with an impartial eye. He 
is accustomed to weighing genius in 
the balance, and when he says that 
Jackie has it — well . . . His opinion 
of me, the Classic editor has refrained 
from printing as she promised. 



(Forty-three) 




Photopraph © by Nelson Evans 



THE TRAGIC COMEDIAN 

A very serious portrait of a great screen comedian, Max Linder, who is at 
present in Paris amusing his countrymen 



(Forty-four) 



The Celluloid Critic 

LAURENCE REID 
Reviews the latest photoplays 

A MAGNIFICENT achievement ia "Th< red Wagon" 

I Paramount), which comes i<> the screen with a stirring, 
vigorous account >>t' ;i bygone people the hardy pioti 
.it '48. Here is -tark. vivid drama here is historj being recorded 
in a gorgo>u* canvas of those adventurous the Roaring 

Forties. Gigantic in conception and execution this superb tapestrj 
transports one with its swift hurricane of events. It instills in the 
spectator a genuine patriotism for liis country. He lives over 
again the mighty purpose of these c lurageous pioneers who turned 
their faces toward the setting sun with a cry of "Westward lln!" 
Theirs was an adventure which dwarfs into insignificance anything 
which had to do with the colonization of America. 

One catches the true -pint of these people as they drove their 
covered wagons thru an unknown country. They would found 
an empire in the 
West ; they would not 
be denied in their 
determination to gain 
sanctuary and soil in 
far-off Oregon. So 
we live over their 
arduous journey thru 
the trackless wastes — 
thru the prairies, over 
the mountains — a 
journey which took a 
year to accomplish — a 
journey which re- 
corded but ten miles a 
day. Think of it ! 

We clamber aboard 
Ogle's wagon or 
mount Kerrigan's 
horse : the bugle 
sounds ; the far-flung 
wagons strike out and 
the glorious adventure 
is afoot. And what a 
journey ! James 
Cruze, the director of 
this vital screen epic 
— an adaptation of 
Emerson Hough's 
story, pilots us thru 
stirring scenes 
fraught with romance, 
thrills and excitement. The suspense is 
terrific because we are living over the 
hazardous trip of these hardy tillers of 
the soil. Danger is everywhere. Starva- 
tion stalks in our midst. And it is staved 
off when the buffaloes are sighted. 
What an inspiring scene — this bison 
hunt, one which might truly be called 
an animated Remington. 

But the biggest, individual thrill, the 
most stirring moment arrives when the 
Platte River is reached and the pioneers 
face the first obstacle. To see them 
fording this rushing river — the oxen and 
horses plunging into the turbulent 
stream and the wagons floated with logs 
is a sight which is as inspiring as it is 
exciting. 

The Indians' circle of death is a 



mum 




m 


KJ 


1 


Sr^ vi 



ri',oto(jraph by Richee 



Above, Jackie Coogan plays tailor in 
"Daddy." Below, a long shot from 
"The Covered Wagon" which is break- 
ing all records for a Broadway run 




Above, Percy Marmont and Ann Forrest in 
one of the tense and dramatic scenes from 
"If Winter Comes." Below, Aileen Pringle 
and Jack Holt in "The Tiger's Claw" 




Photi.frrart' ^> '■' l Rowley 











* 



(Forty-five J 




Mabel' Normand in 
the long looked for 
"Suzanna," a de- 
lightful picture of 
early California 
days. Mabel's in- 
different compan- 
ion is Walter 
McGrail 



Right, is a scene from 
Rex Ingram's "Where 
the Pavement Ends" 
with Alice Terry and 
Ramon Navarro; much 
better than Rex's last 
picture. Below, Milton 
Sills and Anna Q. Nils- 
son in "The Isle of 
Lost -Ships," a Tour- 
neur production 




CLASSIC 

panoramic shot of tremendous sweep — executed with 
accurate color and detail. But the pioneers overcome 
these dangers. They will not be stopped. 

The picture carries a romance which balances the 
westward march. And its intimate scenes are cameo 
studies. There are adventurers, farmers, and gay 
vagabonds who compose the motley throng. And two 
of its most colorful figures are the scouts played with 
fine sympathy and understanding by Ernest Torrence 
and Tully Marshall. Watching them in a little friendly 
play with fire-arms over their marksmanship kindle^ 
the imagination with the romance of the occasion. The 
entire cast is highly capable. Each player is a true rep- 
resentative of the type which he or she portrays. The 
atmosphere is rich, the settings panoramic in their 
scope. 

In all "The Covered Wagon" makes just as vital 
history in the picture industry as the pioneers did in 
their hazardous journey. It lends a glamour of ro- 
mance ; it is fraught with adventure and excitement. It 
is a superb painting conceived on a gigantic scale — a 
living, breathing, accurate page from history. It carries 

color and movement and 
vital action. And it ranks 
with "The Birth of a 
Nation" in its epochal 
record of America in the 
making. 

Hail to Paramount's 
screen epic — a reflection 
of the motion picture at 
its best. 



1 W' 




E leave the big 
outdoors to be in- 
troduced to the 
screen reproduction of 
A. S. M. Hutchinson's 
idealization of the char- 
acter, Mark Sabre, in his 
remarkable study, "If 
Winter Comes," which 
Harry Millarde made for 
Fox. While the salient 
points of this book which 
brings spiritual comfort 
to the reader are brought 
forth upon the silver- 
sheet, it lacks the same 
vital, spiritual flavor. This stylist is 
difficult to record upon cold celluloid. 
Chapters — many of them — must be 
absorbed to catch the full meaning of 
his characterization. Yet Mr. Millarde 
has made a sincere effort to record 
Hutchinson's idealization of Sabre. It 
is a character study which embraces 
three distinct romances in the life of its 
lovable figure. He is caught in a mael- 
strom of tragic consequences before he 
finds a haven of happiness with a 
woman who understands him. 

The picture is wordy and long-drawn 
out and rather episodic. But imagina- 
tive spectators will discover many 
moments of interest in it. Percy Mar- 
mont is a good selection for Sabre and 
enacts the character with a com- 
mendable spiritual flavor. As there are 
few dramatic opportunities the other 
players may be excused tor interpreting 
their roles with marked enthusiasm. 
The feature is best in its atmospheric 



(Forty-six) 



- 



CLASSIC 



qualitj ll.u rv Millarde having taken his company I i 
the t'x.ut locations in England to provide a backgn 
«>t the charming countrj side. 

RF.X INGRAM'S genius foi fashioning a moving, 
colorful storj is manifested again in Metros 
"Where the Pavement Ends." Here is an old 
friend, the South Sea Islands formula, which has been 

treated in such an artistic way that it never become- 

conventional. It suggests the director at his best he 

cause he makes an old pattern seem new. 

Here we have the usual figures — the missionary, his 
daughter, the vicious trader and the native lover. To 
escape the abysmal brute the ^irl turns to the islander 
who protects her. Perfectly ohvious? Yes, in cold 
print, hut translated upon the screen its obviousness is 
overcome by Ingram's dramatic treatment. What a 
hrush he uses ! There is the colorful background carry- 
ing a gorgeous design and against it is enacted a com- 
pact little story acted to the queen's taste by Ramon 
Xavarro as the native, Alice Terry as the charming 
daughter of the dominie, and Harry Morey as the 
brutal trader. It is in- 
spiring and optically 
pleasing. The very title 
exudes romance. 

Chalk another mark 
for Rex Ingram. 



ANOTHER Metro 
attraction, "The 
L Famous Mrs. 
Fair," furnishes proof 
that it occasionally pays 
to have a real playwright 
on the job. Here is 
James Forbes's stage 
play which met with un- 
bounded success upon 
the stage which comes to 
the screen with its vital 
parts intact. Telling the 
story of the dissolution 
of a family thru the 
feminine urge to find ex- 
pression, it sends forth 
truthful slants on life. 

The wife and mother 
has her medals pinned 
on her. And success and popularity go 
to her head. Consequently she takes to 
the lecture tour and during her absence 
the house tumbles to pieces. The pic- 
ture soars to a mighty effective climax 
when the mother and father realize they 
have sinned against their children. A 
desperate search is made to save the 
daughter from dishonor. Thru bring- 
ing her back to her senses a reconcilia- 
tion is effected and harmony reigns 
supreme. 

Good, sound philosophy and logical 
drama are neatly dovetailed in this very 
human story which is capitally acted by- 
Myrtle Stedman as the mother who 
learns that her place is in the home. 
Marguerite de la Motte as the outrage- 
ously modern flapper daughter, lends a 
choice bit to a cast excellent in every 
respect. Fred Xiblo has brought forth 
all its vital plot and characterization. 
It's a picture for thinking people. 
(Continued on page 84) 





Above, Pola Negri 
and Conrad Nagle 
in "Bella Donna" 
an intensely thrill- 
ing and dramatic 
picture. The Negri 
is gorgeous in the 
title role 



Left, Ernest Torrence, 
Mary Miles Minter and 
Antonio Moreno in 
"The Trail of the 
Lonesome Pine." Be- 
low, Marguerite de la 
Motte in a modern — 
oh, very — beauty par- 
lor. One of the scenes 
from "The Famous 
Mrs. Fair" 




(Forty-seven) 



Photograph 
by courtesy 
of Viola 
Dana and 
Metro. The 
little Dana 
makes a 
mischi e - 
vous Puck. 
She just 
would ! 



d 



J 



y 



? 




Q_ 



By 



Miss Dana 
was unani- 
mously chosen 
for the elfin 
sprite for a 
special per- 
formance of 
"A Midsum- 
mer Night's 
Dream" given 
for the benefit 
of the Actors' 
Fund 





IN the official bulletin of the Big / Brothers and Sisters to the 
Motion Picture Industry, there / is a criticism of "Java Head." 
It deplores the discrepancies / between the subtitles and the 
subsequent scenes. "Twice or / more," says the complaint, "a ba- 
rouche is called for, and what /turns up at the door each time is 
a C spring Victoria !" 

Of course it's all the / coachman's fault. If the subtitle had 
read: James, I shall want / the C spring Victoria this afternoon, 
we'll bet anybody a / ticket to "The Queen of Sin" that the 
idiot would have brought around a D or a G spring. You just 

can't trust them. 

•b 4* 4« 

___— - — — These inaccuracies will have to stop if the motion picture in- 

dustry expects ever to have a decent numerical following. "You 
shouldn't,"' so William Fox tersely has it, "make fools of all of the people all 
of the time." Which is only too true. We were talking to a fancy fruit 
dealer the other day. "Why Women Fall," said the F. F. D., "is a rotten pic- 
ture. When the feller tempts the girl with an apple, he calls it a Red Astrakhan. 
Bah ! Any boob can see it's a Newtown Pippin." So that's that. 



Add to the dictionary of similes: as unfortunate as the choice of seats 
offered by a movie usher. 

4* •]« ■!• 

Follows a song to be broadcast over the radio at the very next luncheon 
of the A. M. P. A. It is released with a full heart. Alley — oop ! 

Mine eyes have seen the glory of the Cecil B. de Mille, 

He is whanging out the super-stuff with all his force and will. 

You Wouldn't think that there could be a nickel in the till, 

But his roll goes marching on. 
Chorus : Glory, Glory, Glory Swanson, 

His roll goes marching on. 

I have seen him gild the lily — seen him gild it good and gold. 
And pack each smashing episode with all that it can hold, 
We know it must lie Art because it knocks the public cold 

And his roll goes marching on. 
Chorus : Glory, Glory, Glory Swanson, 

His roll goes marching on. 



"If — er — personality counts for anything at all, Nita Naldi is easily 
the most prominent actress on the silversheet today. The above sen- 

( Continued on page 96) 

(Forty-eight ■ 






J 



The 
Photographer 

Takes the 

Stage 



VhotoRtarti by White Studios 





Above are Joseph Schildkraut and Louise 
Closser Hale in "Peer Gynt"— Schildkraut 
as the young Peer and Miss Hale as Mother 
Ase. Below, Lionel Atwill and Elsie Mackay 
in "The Comedian," Belasco's latest Sacha 
Guitry importation 



rimtofiraph by White Studios 



Above is the upright Mr. Olin Howard in 
"Wildflower." The personable young woman 
so pleasantly at right angles with herself is 
Edith Day. Nonchalance is the keynote — 
whatever that means 




f Forty-nine) 




fNff M 

1 hJI bv 




•B 


ESfi 


1 1 - ' J 





Photograph by White Studios 



Classic's 

Monthly Department 

of the Theater 



Photograph by Francis Bruguicre 





■V/Al 

■■^ Br ^k P 


^T '*&* 









Top of the page, Pauline Frederick and Charles Waldron 
in "The Guilty One." We think Pauline is the one. Left, 
Ann Pennington whose dancing saves "Jack and Jill." Above, 
Dudley Digges as Mr. Zero in the Theater Guild's curious 
theatrical offering, "The Adding Machine." Looks like a 
horrible nightmare for Mr. Digges. Below, Josephine 
Stevens and a very pretty chorus in "Go Go" 



Photograph by 
White Studios 




(Fifty) 










Bernice Ackerman, Vihclda, and Vera Bradley in "Lady 

Butterfly." Wouldn't we like to be a moth miller — or whatever 

it is that consorts with butterflies! 







Photograph by Richard Burke 



Above is a scene 
from "Sandro Bot- 
ticelli" and we wish 
the artist had made 
it bigger, because 
there are a lot of 
celebrities in it: 
Botticelli, Leonardo 
Da Vinci, two or 
three Dei Medicis, 
La Bella Simonetta 
and so on. Eva Le 
Gallienne plays Si- 
monetta Vespucci 
and Basil Sydney 
plays Botticelli 
(center background) 



j m 

Photograph by White Studios 




Above is Louise 
Huff as "Mary the 
Third." She plays 
all three Marys in 
this new play by 
Rachel Crothers. 
We cant account for 
the dead men. Left 
is a moment from 
"Anything Might 
Happen," but the 
trouble is, nothing 
much does. Left to 
right: Estelle Win- 
wood, Roland 
Young, Leone 
Morgan and Leslie 
Howard 



(Fifty-one) 




Flashes From 



Of the Stage 

Caught by 



THE most important eastern news item of the month is that David 
Belasco is preparing to leave for the coast about the first of June, 
with Lenore Ulric, to supervise personally the production of 
"Tiger Rose" her first picture under Warner Brothers contract. 

Belasco's capitulation to the screen is the most encouraging and 
significant circumstance that has ever happened to the once despised 
movies. Even the highbrows stand in awe of Belasco ; even the in- 
telligentsia look up to him ; even the obstreperous "young intellec- 
tuals" accord him respect. This is glorious news, and Warner Broth- 
ers are to be congratulated — however did they do it ? 



Above is Mae Marsh 
in character. She is 
way down in 
southern Louisi- 
ana finishing 
"The White 
Rose" for 
Griffith. Cen- 
ter, David 
Belasco and 
Lenore Ulric 
in the offices 
of Warner Brothers, 
with whom they have 
signed an important 
screen contract. Below is 
Rex Ingram and the mem- 
bers of his "Where the 
Pavement Ends" cast. Rex 
doesn't seem any too well 
pleased. We hope he counts 
ten before he drops the thing 

Photograph (center) by Capitol Photo St 



Another important announcement is Glenn Hunter's five year con- 
tract with Famous Players-Lasky Corporation, which that favored 
child of fortune signed last month. His first picture for them will be 
"This Side of Paradise," F. Scott Fitzgerald's story of insurgent 
youth. Fitzgerald is scarcely more than a boy him- 
self and the two are great friends. 

Mary Astor, the most promising 
young girl of the screen and one 
of our own Fame and Fortune 
contest winners has also signed 
a Famous Player-Lasky 
contract. She is not yet 
of age and all sorts of 
legal difficulties had to 
be removed before it 
was finally accom- 
plished. 





Gallagher and 
Shean, that priceless 
pair who have helped 
keep the Ziegfeld Fol- 
lies going all season, 
are reported about to sing 
their song before a camera 
to the tune of five thousand 
dollars a week or thereabouts. 
They will make five two reel com- 
edies and a five reel feature, each to 
be opened by Ed, with Al leading the 
orchestra, while verses from their 
famous song appear on the upper half 
of the screen. In the fall they expect 
to open in a musical comedy for Charles 
Dillingham called, "Stealing a Town." 
"Four leaf clovers, Mr. Gallagher. 
No, it's horseshoes, Mr. Shean." 



The eastern studios are as busy as 
their western rivals. Mary Alden is 
working out at the Biograph Studios. 
Alma ^Rubens is making "Under The 
Red Robe" at the Tilford Studios. 
Gustav Seyffertitz is in the same pic- 
ture, and John Charles Thomas the 
noted American barytone will make his 
screen debut in the leading role of Gil 
de Berault ; Richard Barthelmess has 
started on "The Fighting Blade" a 
romantic costume story. Conrad Nagel, 
Hope Hampton and Lew Cody are in 



(Fifty-two) 



the Eastern Stars 

On the Screen 
the Editor 

the midst of "1 aw ml I arccny" at Famous Players Long [aland 
Studios. Bert Lytell is in New York foi featured rdlea with l osmo- 
politan Productions. Bettj Blythe is finishing her last picture for 
Whitman Bennett. Marion Davies has just Crushed "Little < >1 * 1 New 
•k." Francis X. Bushman and Beverly Bayne ire completing 
"Modern Marriage" out in Vonkers, Glenn Hunter is at the Film 
Guild. 

Marguerite Courtot and Raymond McKee were married last month 
m "Uit- little church around the corner." Their picture "Down to 

The Sea In Ships" has broken all record-- at the Cameo 'Theatre iii 

New York City. Ciara Bow, another Fame and Fortune Contest 

winner ha-- the ingenue lead in that picture. 



Alice Joyce, whom Neysa McMein has.pronounced 

one of the six most beautiful women on the 
screen, is coming back to pictures after 
a long absence. She will make 
"The Green Goddess" with 
George Arliss for Distinc- 
tive Pictures Company 



Betty Blythe is go- 
ing to Algiers. What 
interesting times 
these screen beauties 
do have ! She will 
star in the Graham- 
Wilcox production 
ni "Chu Chin Chow," 
the exteriors of which 
will be shot in anil 
about Tunis. Wonder- 
ful opportunity for Betty 



D. W. Griffith is down in . 
Florida and Louisiana with his 
company finishing his picture, "The 
White Rose" with Mae Marsh. Ivor 
Novello, Carol Dempster and others. 





Above, the inimitable 
Mr. Gallagher and 
the incomparable 
Mr. Shean pleas- 
antly exhilarated 
by their new 
screen con- 
tract. Center, 
the work-shop 
of the Film 
Guild during 
the making of 
"The Scarecrow." The 
mask is Glenn Hunter 
Below, a charming model 
of the 45th Street Theater 
where the "Music Box 
Revue" still draws crowds 
every night of its long run 



Marion Davies has had a lot of 
bad luck with her latest picture 
"Little Old Xew York." She nar- 
rowly escaped serious injury in one 
of the scenes. Louis Wolheim had 
to throw her over his shoulder and 
carry her to a whipping post with a 
mob of howling extras at his heels. 
When he reached the steps they 
crowded him so close in their excite- 
ment that in spite of his efforts to 
save her, Miss Davies fell to the 
platform striking her head with ter- 
rific force. She was unconscious 
for several minutes but when she 
came to, pluckily insisted upon con- 
tinuing the scene. Whereupon all 
the extras cheered and Wolheim 
saluted her gallantly. When you see 
{Continued on page 73) 




(Fifty-three) 




A YOUNG man strolled 
thru the smoking car. 
He was correctly 
clad, casual. At one glance 
he appeared to have a bear- 
ing of some fierce inner spir- 
itualness. At the next glance 
as equal a contradictory ap- 
pearance, of shrewd sophis- 
tication. Calculatedness. At 
both glances he appeared to 
be singularly attractive. 
Even compelling. During 
the cross-country trip one 

man had been watching him with a species of concentra- 
tion. This man was a detective. 

The young man strolled thru the smoking car. He 
left behind him a spiral trail of elegantly scented smoke. 
Expensive. When the trail thinned to faint blueness the 
famous detective arose, also casually, and strolled after 
him. He thought that he would confront him in the nar- 
row passageway between the smoker and the Pullman 
car. But he didn't confront him. When he emerged 
from the smoker into the passageway the young man had 
casually but completely disappeared. 

Fifteen minutes later, precisely, from a ditch by the 
railroad bed, where, precisely fifteen minutes before the 
Transcontinental had sped by, a young man emerged. 
He was the same young man as to face — almost. He 
was quite another young man as to garb. His tailored 
clothes had given way to a costume somewhat bastardly 
a mixture between that of a Pacific beachcomber and a 
holy man of somewhat uncertain orders. He carried a 
long staff and over his shoulder, a bundle. He strode 
immediately off toward a destination of which he ap- 
peared definite and certain. In the deep depths of his 
eyes glowed a flame which was focal and baffling. Two 
spots of red burned on the pallor of his face. Except 



The Madness 
of Youth 



for soft corners in his 

mouth he was ascetic. He 

walked a long ways, un- 
weariedly. . . . 



Told in Story Form 

By 

GRACE LAMB 



The Bannings were quar- 
reling among themselves. 
They had exhausted most of 
the other worldly excite- 
ments, and really, as they 
would have' told you, the 
spiritual had no attraction 
for them, even if they had 
thought about them, and the mental occupied their minds 
not at all. 

Theodore P. Banning would have said of himself, in 
extenuation, that he had burned himself out as much as 
was good for a man in his fight for wealth. Well, he 
had obtained it. What then ? During the process, he 
had lost his wife in death, lost his son and daughter in 
life, and gained three obsessions. Which is as much, all 
in all, as most men do who go into the cold bowels of 
mankind to bring back soulless gold. 

His first obsession was the large iron-ribbed and steel- 
lined vault built just off the library of his pretentious 
Southern California residence. His wife had used to 
plead with him to bank it, but banks had failed him twice 
in his life, and he would have none of them. His son 
and daughter told him that one day he would be mur- 
dered and his safety vault looted, but he merely shrugged 
his shoulders. This potential catastrophe was beyond 
him. He wouldn't mind being murdered, he thought, if 
such should befall. 

His next obsession had to do with his two children, 
Theodore Jr., called Teddy, and Xanette, his daughter. 
They had been nice children. Once, when his wife was 
living, he had been wont to hear them say their goodnight 

(Fifty-four) 



^HB^H 






prayers, had kist them goodnight, loving as much as he 
had rime, the urgent clinging of their damp, unall arms 
Bui the) didn't say theii prayers any longer, they knew 
better now , . and of course t lu-ir slim, strong arma 
had better use-, than to be about his leather] old neck 

. . But the) might, he pondered in bitterness, h 
shown him some filial respect, after he had amassed his 
glittering wealth for them. They might have been at 
■ respectful, 

["his third and la^t obsession h;i<! to do with the tenets 
of spiritualism. Everything else had failed him. Ever) 
"ii earth had failed him. Once they had all worn 
painted, alluring, laughing masks. Then they had torn 
the masks away, and lo, the grimacing faces that looked 
upon him ! Even his Teddy, sensual and cynical. Even 
his little Nanette, petulant, defeminized, hard like a 
young green apple. ... In spiritualism he was able, he 
thought, to talk with his dead wife. She was gentle with 
him. Sympathetic. She agreed with all Ids grievances 
and was sorry for him. What he was against she was 
against. He had lo pay vast sums of money to hear her 
speak so to him. but it was worth it to him. He believed 
in her. Rich men. too, must have their toys, nor nerd 
they ever know that they are broken. 

But today the Bannings were quarreling among them- 
selves. Ted had brought home from France a young 
French wife. She was delicately pretty and delicately 
built. Ted didn't seem to care for her as lie had. Al- 
most every day he made her cry. and when he saw her 
crying, with two red rims etched unbecomingly about her 
soft dark eves it 



couldn't be entertained sitting about this old dump like 
'i- fingci I 1' said, with ■ 

well, ti 
tlit- m all he i ould gathi mi^ 

hut a sponger on i ich nun's mon< \ . an 
father w ned with him, ai 

Nanette sulked and flounced out of the garden 
followed her and the) had 'I'm 

tiled of being bossed 1>> that old grouch, Dad," 
said, "Pete wants to marn me and I think I'll gel 
tonight. Dad'll cut us off with a shilling, but what do I 
care? I'm bored stiff with tins stuffy atmosphei 

red laughed derisively. "If Dad cuts you off wit 
shilling." he said, "your Pete will cul you off with 

All he's alter i - your moi r mine, not v. mi." 

"Is that so'" 

"Thai is so !" 

"And how do you get so v. j 

"You dont have to be wi e thru Pete Reynolds. 

I dont hold any briefs for old Dad. but he can smell a 
sucker after money, and that's what Pete is. lie's ;i l ■•■ 
living around in die homes of the wealthy, as he is now 
honoring us. He's always licking some gilded debu- 
tante's costly boots. Only most of them aren't such 
sweet asses as my own sweet sister. God, it's as plain as 
your skin !" 

"But I thought you liked him ..." Nanette whined 
her words. 

"Oh, he's all right to have a drink with, or shoot ] 
or go out with some girls. / dont have to marry him." 



served to make 
him angrier than 
ever. Today she 
was up in her 
room crying. 
Theodore P., 
senior, had heard 
her and had been 
remonstrating 
with his son, 
which led him. in 
turn, to remon- 
strate with his 
daughter. Na- 
nette hadn't been 
home for a week 
before one or 
two in the morn- 
ing. Theodore P. 
wanted to know 
what the devil 
she meant by 
such carrying 
on ? What' did 
she think she 
was? Nanette 
sulkily replied 
that she had been 
with Pete Reyn- 
olds, that Pete 
was their "guest," 
and that he 



Javalie stood still. 
He heard his name 
called again, and 
the masked dancer 
stood before him 
stripping off her 
mask. "So you're 
here, Louise," he 
said without 
surprise 




dJ 



L 



(Fifty-five) 



CLASSIC 




"You're some man, aren't you, Ted?" 

"You're some woman, aren't you, Nan?" 

And into such a garden walked the man of uncertain 
orders with the light burning in the deep depths of his 
eyes and the gnarled staff in his long and slender hands. 

Theodore P. removed his expensive cigar from his 
mouth. He sat up in his chair, straighter than the heat 
of the day rendered perfectly comfortable. "Well," he 
said, "who in hell are you? Where do you come from?" 

"I am from Everywhere," said the Stranger, "from 
the mountains, from the desert and the sea. From the 
high places and out of the low I am a symbol of that 
beneficent power that heals the wounds of the soul." 

"Oh, you are, are you?" 

"My name is Jaca Javalie. There is hatred and trouble 
in this house. Vipers coil and stir in a nest of brooding 
beauty. Father is armed against son, in his soul, and 
son against daughter. Why this has been revealed to 
me, I do not know. I want 
nothing. I do not take. T 
give. I give peace." 

This was spiritualistic 
stuff. Theodore P. sat 
more erect. He wanted to 
hear more. His spirit was 
sore disturbed and the 
strange man's singular 
words were like fresh 
waters. "So," he said, 
"you think we're in diffi- 
culties here, do you ?" 

"Yes," said the Stranger 
simply. 



THE MADNESS OF YOUTH 
Fictionized by permission from the Fox Film 
of the scenario of Joseph Franklin Poland of the 
story by George F. Worts. Directed by Jerome 
Storm. The cast: 

Jaca Javalie Jack Gilbert 

Nanette Banning Billie Dove 

Theodore P. Banning Wilton Taylor 

Ted Banning Geo. K. Arthur 

Jeanne Ruth Boyd 

Louise Dorothy Manners 

Peter Reynolds Donald Hatswell 

Mason Luke Lucas 



Javalie stood before the 
older man and passed his 
hands over the grey head. 
"Then sleep," he began to 
intone, "sleep . t . . sleep 
. . . sleep. ..." Ban- 
ning relaxed and closed 
his eyes 



''And you think you 
can help us. How?" 

"By remaining with 
you for a few long 
hours. For a day or so. 
Simply by remaining 
with you. I can sleep 
in the open field and eat 
with the help in the 
outer places. My bed is 
beneath the stars as well 
as beneath silken cover- 
ings." 

"You'll sleep indoors 
if you stay at all." 

"That shall be as you 
will it. I come to bring 
peace." 

"Well, you've come 
none too soon." Theo- 
dore P., already more 
peaceful, perhaps be- 
cause momentarily ar- 
rested, lay back again in 
his long chair ; "we're 
very unhappy here," he 
said. The stranger in- 
clined his head. He 
seemed to be like a deep, 
cool well drawing from 
the air about him all 
that was poisonous and restless. Theodore P. found 
himself talking to the stranger, telling him things. . . . 
After awhile he rose and insisted upon his strange guest 
accompanying him to the house. They entered the library 
in the midst of which stood. Ted and his sister, still dis- 
puting a point which had. by now. become wholly ob- 
scured from its source. 

They stopped with the effect of clockwork when they 
saw their father with the stranger. "Where did you 
come from?" Nanette broke out, with her characteristic 
audacity. "Mars?" 

"Great Scott, Dad," laughed Ted, "what new curiosity 
have you unearthed ?" 

Theodore P. introduced Jaca Javalie, and the man 
spoke a few words to them. Suddenly, for the first time 
in many months, Ted felt adolescent and awkward. Like 
he had used to feel. And for the first time in even more 
months Nanette felt distinctly silly, and like making 

amends. The two young 
Bannings turned suddenly 
gracious. 

Ted bethought himself 
of poor, little Jeanne, cry- 
ing alone in her room. He 
ran up to get her down. 
While she was powdering 
her face and rearranging 
her hair Ted kist the back 
of her neck, impulsively. 
He hadn't done that in 
many months, either. 
Jeanne felt a little stab of 
a come-back happiness. 



(Fifty-six) 



CLA! 

ijnner in the Banning home thai nigh! was the first 
ceful one foi as fai back as an) oi the famil) could 
remember rhe strangei talked in .1 lo^ voice ol pleas 
ant places he had been, of his beliefs, practical tinged 
with mysticism, his dark burning eyes ranged with a 

plendid impartiality ovei the faces of hi -^ host, Ted, 
Madame Jeanne and the rose-colored Nanette, Nanette 
once thought that his eyes rested longer on her, and her 
heart gave an inexplicable leap into .1 curiously high 
place. Pete Reynolds was the onl) one who did not 
n to come under the stranger's spell. Nanette rather 
despised him for this He didn't seem so attractive to 
her as he had done that afternoon. He didn't go aboul 
the world working miracles, as did Jaca Javalie. What 
a name . . . Jaca Javalie , . Nan tte kept rolling the 
syllable under her tongue. \ftcr awhile she heard them 
echoing in her heart . . . Jaca Javalie . . . 

In the morning of the following day Nanette talked 
with him in the garden, lie talked to her about the 
(lowers. But now she was defiant. She felt drawn 
toward him, but she felt resentful, too. a httle dubious. 
Was he "spoofing" them all' One did do much spoof 
ing nowaday-. Pete Reynolds, for instance, with his illy 
adjusted lover's mask. 

That night the Bannings were giving a fancy dress 
hall Javalie had said that he would watch from the 
balcony. There, radiant, late in the evening, Nanette 
came to him. alone. She was spiritually lovel) except 
for her hard young eyes. "You can fool Dad," she said, 
without preamble, "with your supernatural stuff. Rut 
you cant fool me." 

"But I dont want to fool you," Jaca Javalie said. And 
somehow in the moonlight his words ran with a clear 
conviction. No, Nanette knew, be didn't want to fool her. 

"You dont want to fool me." Nanette answered him, 
still with a vein of 
mockery, "because 
you're human . . '. 
not spiritual. Be- 
cause I'm a woman 
and you're a man. 
That's w h y y o u 
dont want to 'fool' 
me. Isn't it? Isn't 
it.'" 

Jaca Javalie 
looked down on her 
and the light in his 
eyes burned more 
deeply, if less 
strangely. "That 
may be it." he said, 
"who can tell?" 

After Nanette 
had pirouetted away 
Javalie put his hand 
to his forehead. He 
tried to surer zvhich 
was his habitual 
smile when alone. 
but was somehow 
u nsucces s f u 1 . 
"Steady, old man." 
he muttered to him- 



Javalie raised her 
hand and kist it, and 
was still. They had 
their right to judge 
him . . . these people 
whom he had saved 
. . . and would have 
robbed 



I) , there ' R< memb 

ni 'i V » i 

\ loft hand touched his arm and he tool 

the little, loneh Madame Jeanni 
with a lover who, like In- country, had pro\ 
strange to her. In the moonlight Iter large dark 
wei e mi -t' d with mi not 10 l< 

Nanette, (he man thought, but «,!.. 

ful. Juat now. the touched him Down m the 

garden, where the lupper was being served, a 

dancer had stepped lightl) from a mammoth cake 
Jazi shook the night With ribaldry. Madame Jeanne 
murmured in his car, like the falling of a light rani 
"The) say," she said, pointing down to where tl 
was flinging white arms to the music's strains, "tin;. 
she can have any man she wants They SB) that men 
have killed themselves for love of her. Oh, holy man. 
die wants m\ Ted . . . and he has grown SO weak 

strange since we came back from France. Wont 

you please save him from her? I know that you can 
Madame Jeanne stood on tip-toe until her soft mouth was 
level with Javalie's ear. She whispered a few word- to 
him. -"PJease help me," she finished, helplessly 

Mown in the garden Nanette was calling him. He went 
down and walked with her down one of the winding 
paths. Suddenly she turned to him and threw her arms 
about him. "Kiss me . . . holy man." she commanded, 
mockingly. Javalie took her in his arms. The thing that 
had been stirring within him broke and he crushed her 
against him. When be released her she stood back and 
the mockery i<\ her words was broken by the passion of 
her voice. "1 knew that you were human." she said. 
And she ran away. Javalie stood still. He heard his 
name called again, and the masked dancer stood before 
I Continued on page 78) 




(Fifty-sei-en) 




Classic Considers 



OLGA PRINTZLAU 

Because she's so young and so clever; because she is head of the Department 
of Adaptations of Preferred Pictures at the age of twenty-six and at an almost 
incredible salary; because she looks like the younger sister of her own child 
who is twelve years old; because in spite of youth, beauty, brains, and talent 
she resists the call of the screen and sticks to her desk. She was scenarist for 
William De Mille when B. P. Schulberg signed her. She is still piling up her 
list of successful adaptations 



Photograph by Evans, L. A. 



HARRY KEMP 

With thankfulness for his fascinating autobiography, 
"Tramping On Life," the frankest and most interesting 
self-revelations since Jean Jacques Rousseau and Marie 
Bashkirtseff. Not because he was called "The Tramp 
Poet" but because he was that. Because he has crowded 
into one short life, all the beauty and romance of poetry, 
all the flame and daring of adventure, all the poignant 
wisdom of bitter lessons learned ; and because he has 
crystallized this experience into a beautiful prose poem 
for all who run to read 





FONTAINE FOX 

In consideration of the fact that the odd little whimsies of 
his brain and pen have now become household words. Who 
is there who does not know the Powerful Katrinka, the 
Toonerville Trolley that meets all the trains, and the Terrible 
Tempered Mr. Bangs? His cartoons are not only syndicated 
in hundreds of papers all over the United States, but an 
enterprising toy merchant is now manufacturing them as toys 
and a farsighted motion picture producer has made a movie 
of these familiar comics. In the picture with Mr. Fox is Dan 
Mason as the skipper of the Toonerville Trolley 



(F 



tfty-a$it 



MMB^H 




Photograph by Russel Ball 



THE HEIR TO THE THRONE 

Only it happens to be an heiress! We herewith present the first picture of young Miss 

Barthelmess ever taken. Mary Hay Barthelmess is her name and she has only a few 

weeks to her credit — but just look at the beaming parents. Dick's hair is long, he 

wished it explained, for the sake of his next picture. "The Fighting Blade" 



(Fifty-nine) 




The Hollywood 



Lew Cody and Erich von Stroheim ex- 
change mustaches — or something like 
that 




Transcribed by 



KING Tut-ankh-Amen seems to have staged the grandest come- 
back in all historv. And he's dragged all Egypt into the movies. 
William P. S. Earle, brother of the celebrated Ferdinand 
Pinney, is putting King Tut bodily into' the screen drama. For eight 
months, he has been making preparations for the play which is now 
being filmed at the Hollywood Studios, with Carmel Myers, June 
Elvidge, Malcolm MacGregor in the cast. Mr. Earle is said to 
have unearthed an actor heretofore unknown to the screen for King 
Tut himself. It is to be distinguished by the most extraordinary 

art effects yet seen on the screen. 

* * * 



So convinced are the 
producers that a great 
wave of Egyptian en- 
thusiasm is about to go 
sweeping over the movie 
colony that the art direc- 
tor of the United Studios 
has been sent to Luxor 
with $100,000 in his 
jeans to buy all the an- 
cient "props" he can lay 
hands on. 



While this is taking 
place, Cecil De Mille's 
representatives are scam- 
pering around the world 
in the other direction. A 
big box arrived at the 
Lasky Studio the other 
day laden with the most 
gorgeous Siamese em- 
broideries and jewels 
which are to be used in 
the film play that Cecil 
De Mille is to base upon 
the Ten Commandments. 
Mrs. Florence Meehan is 
touring the Orient for 
that special purpose. 



Douglas Fairbanks will probably be 
seen next in a big picture on the order of 
"Kismet" by Edward Knoblock. He also 
has it in mind to produce two other plays. 
The fact is Mr. Knoblock is down at the 
beach furiously scribbling away at the 
Bagdad play, while Doug's brother, 
Robert Fairbanks, is in the mountains 
with squadrons of stenographers madly 
writing upon the pirate play that he wants 
Douglas to do. Inasmuch as Douglas has 
thought up some very marvelous scenic 
effects for the Oriental, it looks like a 
potentate of the mysterious East for his 
next. 



Meanwhile, Robin Hood is breaking all 
known records of the West. At this 
writing, it is doing its twenty-third week 
at $1.50 per seat with every prospect of 

(Sixty) 



mmi^^mm 



Boulevardier Chats 



Harry Carr 



twentj five 01 more weeks before the box office begins to weaken, 
Robin Hood at the new Egyptian theater in Hollywood baa been an 
interesting experiment; it is the first reserved seal house 



Mary Pickford is in tin- midst of the first real love scenes of her 
eer in her play of medieval Spain which is being directed l>\ 
Ernst Lubitsche. li has been one of the unvarying rules of Marys 
screen plays that her love scenes had to be mil<l and pallid - just 
little girl fairy kisses in passing ;h it wore. The whole studio has 
been thrilled to death 
during the making of this 
one because Mary is 
making tempestuous love- 
She has done her little 
curls up on the top of 
her head and — oil dear 
where is our little Mary ? 



George Walsh is the 
alarmed recipient of 
Mary's first screen love 
making. 



( >n account of the ver\ 
heavy studio overhead 
expenses, it is possible 
that Mar) will begin 
work on another story — 
probably Dorothy Ver- 
non of Haddon Hall be- 
fore she is thru this other 
story. 





Salomy Jane, the old 
Bret Hante favorite is 
soon to be seen in pic- 
tures under the direction 
of George Melford. 
Jacqueline Logan with 
Lefty Flynn, who is to 
be benceforth officially 
Maurice Flynn, is in the high Sierras 
making the picture. The picture is to be 
made from Paul Armstrong's dramatic 
version of the storv. 



Estelle Taylor, who is working in a 
picture to be called "The Children of 
Jazz" under the direction of Jerome 
Storm, has had the bad luck to be named 
for the second time by a jealous wife; 
this time by the spouse of a camera man 
named. Barnes. Before it was by Seena 
Owen. 



Rob Wagner, the author, is beginning 
his career as a Lasky director with a 
picture to be called "Fair Week" of which 
Walter Hiers will be the star. Most of it 
will be "shot" in Pleasanton a town in 



Above, Lupino Lane; the Italian come- 
dian just out of the hospital buys a — er — 
souvenir in case he needs it. Right, Bull 
Montana "among his books." The great 
star reads .ffischylus every night before he 
goes to bed. Below, Gene Sarazen world' 
champion golfer and Ann Perdue to whom 
is reported engaged 



People get arrested for this sort of 

thing but Walter Hiers is willing to 

risk it 





Photograph hy 
(iren beaux 



(Sixty-one) 



CLASSIC 





Northern California beloved of location experts ; it 
looks exactly like New England. 



Norma Talmadge is starting on the biggest produc- 
tion of her entire career. It is a French story called 
"The Ashes of Vengeance." It is expected to cost in 
the neighborhood of $700,000 ; there will be over 
$10,000 worth of swords alone. In the story Norma 
falls in love with a young nob'eman who, to save the 
life of a sister, has become the bonded servant of a rival. 
The peculiarity of the picture is that Norma does not 
appear until well along toward the middle of the pic- 
ture. In honor of the affair, Norma's devoted husband, 
Joseph Schenk has had a gorgeous dressing room built 
for her on the stage and a special bungalow in the studio 
for her to rest in. 

* * * 

Renee Adoree, after plugging along in pictures for 
several years, has suddenly burst out as a star of the 
most brilliant effulgence. Reginald Barker discovered 
her while making a big Canadian picture and considers 
her as the big "find" of the year. Miss Adoree was 



formerly a professional dancer and is the wife of Tom Moore. 



Jackie Coogan had to starve all during the making of Oliver Twist. 
He is now working in a picture in which he complains plaintively that 
they keep him stuffed to the muzzle with spaghetti all the time. 



Little Ben Alexander, who played the marvelous part in Griffith's "Hearts 
of the World" has come to light again. He is to be "Penrod" in a film 
version of "Penrod and Sam" directed by William Beaudine. He will be 
supported by a big cast which includes Irene Rich, William Mong, Rockliffe 
Fellows, Mary Philbin and Gareth Hughes. 



Baby Peggy also occupied the central part of the public eye for a time 

last week when she signed with Sol Lesser, the producer, for a series of 

feature pictures. 

* * * 

The real estate bug is biting again. Douglas and Mary Fairbanks have 
bought ten acres in the rear of their studio on Santa Monica Boulevard 
by way of investment. Little Pauline Garon has bought a place in the 
Wilshire district and has sent for her father and mother in Montreal. 
Alice Howell, when she. saw all this easy money floating around in real 

(Continued on page 66) 



At the top of the page is 
Buddy Messing or, Century 
Comedies' youthful comedian 
and his leading lady, little 
Sadie Campbell. Center is Tom 
Mix holding his own wife on 
the top of the world. Hope he 
doesn't mean to drop her. Left, 
Mary and Doug six years ago, 
holding up a picture producer 
in the time honored fashion. 
The unfortunate man is Al 
Lichtman at present, president 
of the Al Lichtman Corpora- 
tion which releases Preferred 
Pictures 



(Si.rty-tivo) 



Are you 

especially fastidious 
about void mamcui 




w: 



r OMEN who are exceptionally critical about 
a manicure should "do" their nails the Cutex 
way. For, this new method of manicuring not only 
eliminates all dangerous and disfiguring cutting of the 
cuticle, but it leaves the finger tips soothed and com- 
forted, the nails immaculate and lovely. 

Moreover, the Cutex way of manicuring is quick 
and easy. It takes but five or ten minutes once or 
twice a week. 

You just dip an orange-wood stick wrapped with 
cotton in Cutex Cuticle Remover (a cleansing, anti- 
septic liquid developed by Science for the care of the 



nails), work it under the nail tips and around the base 
of the nails, gently pressing back the cuticle. Then, 
rinse the finger tips in water, and wipe them off. Now, 
examine the nails closely, and you will see that every 
tiny flake of dead skin has disappeared, ugly stains 
have vanished, and the nail rim is thin, even, and 
beautifully shaped. 

Then — for a Jewel-like Polish 

Of Culex Polishes there are 6ve — the paste, cake, stick, 
powder, and liquid forms. All give a brilliant, lasting lustre 
and that rose-pearl glow approved by Fashion as the smart 
finish to a manicure. Obtainable at all drug stores in the 
United Stales and Canada, and at chemist shops in England. 



=£Xjtex 




New Cutex Powder 
Polish 

A scented, rosee powder 
of velvet smoothness that 
gives a dazzling lustre. No 
buffer required. Just a few 
strokes of the nails across 
the palm bring out a full 
and brilliant polish that lasts 
for many days. In the at- 
tractive rose and black Cutex 
package. Price, 35c. 



EVERYTHING FOR THE MAN/CURE 



Send for this Introductory Manicure Set „_1«. / ~) .-_„<, 

Sol • t t c- c i • \a — ontu / £ cenio 

ufncient for oix Complete Manicures 

Fill out the coupon below, and mail it with 12 
cents in coins or stamps for the Cutex Introduc- 
tory Manicure Set containing trial sizes of Cutex 
Cuticle Remover, Powder Polish, Liquid Polish, 
Cuticle Cream (Comfort ), emery board, and mani- 
cure stick, enough for six complete manicures, 
address Northam Warren, 114 West 17th Street, 
Sew York, or, if you live n Canada, Dept. N-S, 
200 Mountain Street, Montreal. 




Northam Warren, Dept. N-6 
114 W. 17th St.. New York, N. Y. 



/ enclose 12 cents for 
Cutex Introductory 
Manicure Set. 



Name. 



Street 

(or P. O. Box) 

City 



Write your 
name and ad- 
dress plainly 
on this cou- 
pon and mail 
with 12 cents 
in coins or 
■ tampsto-day. 



Slate 



(Sixty-three) 




Katinka From Chaiive-Souris 

The most original and popular show of the past season in 
New York was the "Chauve-Souris," that glorified 
Russian vaudeville that has set everyone to humming 
the March of the Wooden Soldiers. Now Herbert 
Brennon has re-created a bit of it for the screen. Just 
have patience and you can see for yourself what it is like. 
He has interpolated the Katinka episode pictured here 
in his newest picture "The Rustle of Silk" 





(Sixty-four) 



I 



What ten million motor cars have taught 
women about their skin 



The method they have learned 
to depend on 



I wa unbroken lines of cars wind along the pop- 
ul.n motoi roads Everyone is motoring week- 
ending at the beach, or the country club, or just 
driving for tin- pleasure of it. Fine dust settles in 
their skin and the wind brings .1 dr) tightness. 

^i et many women's complexions are younger 
ami lo\ elier than ever before ' 

The severe exposure of motoring lias taught 
them liow importantiit is to Hiul the right wa\ to 
care foi their skin, keep it beautiful and supple in 
spite of all exposure. 

Pod ay millions of women have found a method 
so wonderful in results that in all the world it is 
used more than any other Pond's Two Creams. 
They leave your skin softer, more supple than you 
could have dreamed. They give just that finishing 
touch ot loveliness you have always wanted. 

A fine light cleansing that never leaves your 
face heavy with cream gives the beautiful supple- 
ness you want anil then wipes entirely oft! 1 his 
is why millions of women prefer to cleanse with 
Pond's Cold Cream. 

A marvelous freshening, an adding ot youth 
and unfailing protection. No wonder that the 
women of the United States alone use several 
millions of jars and tubes of Pond's Vanishing 
Cream every year! 

TRY THIS FAMOUS METHOD 
See the wonderful improvement in your skin 

Doth: With the finger tips apply Pond's Cold Cream freely. 

1 In very tint' oil in it is able to penetrate every pore of your skin. 
Let it stay a minute — now wipe it off with a soft eloth. The black 
on the cloth will show vou how carefully this cream cleanses. Your 
skin looks Iresh and is beautifully supple. 

nootfa on Pond's Vanishing (.'ream lightly 
over your whole face. It you wish, rouge —powder. How smooth and 
velvety your face feels! How new and charming the reflection in 
your mirror! The appearance of your skin for the whole day will 
prove R> you how wonderful for your skin these two creams are. 

Always after a motor or railroad trip, cleanse with 
Pond's Cold Cream and finish with the Vanishing Cream 
and powder. To see how these two creams will improve 
your skin use this method regularly. Begin now by 
huving both creams in jars or tubes in any drug or 
department store. The Pond's Extract Co. 




removes coarsening dirt — restores suppleness 
defies exposure — holds the powder 




Photo by I l 

Florence Nash <ay she likrs Pond'' Cold Crt am bfcauu it f/ewj i 

feeling so refreshed — not heavy and oily. And that Pond's 1'amthine Crrum 
realty keep! her shin wonderfully smooth and fresh. 



Exposure starts these troubles or 
makes them worse 

Sunburn, Windburn. Chapping 

I'he daily repetition of weather damage docs more to aj rhan 

anv other single factor But the proceei if IO gradual that ciu; 
specially severe occasions you do not notice it until your skin ha, 
ilefinitclv coarsened. Do not let this happen. For the insidious every* 
du\ exposure use the same merhoil that sa m youl skin from rhe . i 
sive damage of a long motor ride or a day on tin 

properly oiled hv a nightly cleansing with Pond's Cold Cream Then 
always in the morning, smooth on Pond's Vanishing Cream It forms a 
delicate hut sute protection. I his method will keep sour skin smooth 

and young years longer than would otherwise he possible. 
Premature Wrinkles, Scaling, Peeling 

These are especially the troubles of a dr \ skin To a v ..id thi m v ...j must 
protect VOUrtelf from all exposure and keep youl .Lin Soft das and 
night. Cleanse with plenty of Pond's Cold Cream nightly anJ leave 
some on over night I his will gixc your skin the oil it needs so ! 
and keep it from scaling and peeling. Then it will not develop little linei 
thjt grow into wrinkles. 

But do not let the exposure of the day undo the results of this nightly 
oiling. Evety morning smooth on Pond'* Vanishing Cream liberally, 
prevent your >km from drying our again, -\lwas s earn a tube with yosi 
on motor trips to counteract their drying, ageing influence. 

That Distressing Shine 

Sometimes shine is due to a dry. tight skin, and motoring ot even the 
slightest daily exposure aggravates the condition Vou must apply an 
extra amount of Pond's Cold Cream at night after the ilean,mg and 
let it stay on. Sec how gladly youl Am will absorb the hnc light "i 1 ol / 

this cream, how it will soften anil relax and the shine disappear 
Put on the Vanishing Cream in the morning to keep this sup pit m - / 

through the day and he sure to carry it with you anil dm it , 

freuuentlv on any occasion of unusual exposure. ' 

Accumulation of dirt and fat in the pores ^ 

Sometimes the oil in your skin accumulates in the glands / 
and attracts dirt and bacteria lust that blows into • I h. i 
your face when motoring, or the dail) soot ot .us >.- 

stteets. Your complexion is dulled, disfigured / lJiF. Hudson 
You need specially careful cleansingS Pond's * St . New Y"fk 

Cold Cream is so light it penrttatcs the glands / 

and takes out excess oil and din together. / tntUtKli f „, 

!^ . , . h .' 5 _ c . v ! rv ,.'! , .' t ,". a ".' 1 *J"f y ".™ I Si" / cial introdu, ton tul.es 

' of the tWO cTsHtHII cwrv 

/^ normal >km nml*- enough 

ol viih cream t'.ir rwo *crk»* 



motor or railroad trip, and you 
avoid a dull, mudilv » in 



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/ 



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lit t LUCl 



dd 



/ 



(Sixty -five) 



The Hollywood Boulevardier Chats 



(Continued from page 62) 



estate a year or so ago tossed up her film job ; galloped 
forth to make a fortune ; made it and has now returned to 
the screen prepared to say "Oh I dunno" at any fresh 
director. 



An assortment of celebrities adorns "Wandering Daugh- 
ters" now being made at the United Studios. Among 
them are Craig Biddle, the young Philadelphia millionaire ; 
Lyman T. Gage, Jr., son of the former secretary of the 
Treasury ; Princess Waldemar Valkonsky of Russia, 
Antonio Rolando, son of a millionaire newspaper owner 
of South America. 



It is said that Erich Von Stroheim threatened to throw 
up his contract with Goldwyn if he couldn't have Zazu 
Pitts as his leading lady in McTeague which is to be 
made from the Frank Norris novel. Consequently Zazu 
is to have the part. 



Hollywood in the screening — directors, authors, producers 
etc. One is Rupert Hughes' "Souls for Sale" and the 
other "Hollywood and the Favorite Child," made on the 
Lasky lot. The latter story is a yarn by Frank Condon 
about a selfish flapper daughter who dragged out her 
whole family from Iowa to Hollywood so she could get 
into pictures : after they got here, every one of her 
family except herself got a studio job. 



Fred Niblo is having a ship yard employing 200 men 
built for his forthcoming pirate picture "Captain Apple- 
jack." In the course of the picture he will use a whole 
fleet of boats — four schooners, two brigs and a frigate. 
Among the actors who will take part in the picture will 
be Enid Bennett, Robert McKim, Thos. Ricketts and 

Matt Moore. 

* * * 

Mary Pickford wants to adopt the beautiful film child 

Phi 1 li pe de 



With the 
transfer of 
Emmet J . 
Flynn to the 
Goldwyn lot, 
the young lead- 
ing men look 
up hopefully ; 
for, dont y' see, 
he discovered 
both Valentino 
and Norman 
Kerry. 



George D. 
Baker is com- 
ing West to di- 
rect Balzac's 
"The Magic 
Skin" for the 
Achievement 
Films, a new 
producing firm 
which has re- 
cently come 
here from 
Philadelphia. 
Baker is the 
director who 
made "Revela- 
tion" with Na- 
zimova. 



Two big pic- 
tures are mak- 
ing a concen- 
trated dash for 
the screen as 
they both con- 
tain the same 
unique idea ; 
that of using 
about half the 
celebrities of 



Anna May Wong, the charming 
authentic note to Priscilla Dean's 



little Chinese girl who lends an 
picture "Drifting," a Universal film 




Lacey who was 
found on a 
French battle- 
field and 
brought to 
America by 
Edith de Lacey, 
an English 
nurse. Thus 
far, Miss De 
Lacey has re- 
fused Mary's 
offers. 



Gladys Wal- 
ton was sent to 
jail for three 
days for speed- 
ing by an irate 
Los Angeles 
judge. She told 
him she was 
nineteen years 
old and had 
been hitting up 
the pace at 
thirty - three 
miles an hour 
thru the center 
of town. 
"You'd better 
go home and 
get some 
clothes that 
would be good 
for jail," said 
His Honor 
briefly. "Three 
days." Just be- 
fore going in, 
Miss Walton 
was edified to 
learn that her 
future cell 
(Continued on 
page 74) . 



(Sixty-six) 



At the end 
of the dance 

J7*ROM the ballroom Boated the strain. 
a of a waits, and from out beyond 

came the sleepv niylit sounds the late 
Call ol a bird, the faint whispering of 
leaves in the summer hree/e. 

The man watched the woman before 
him in the mellow glow of the lanterns, 
drinking in her loveliness with eyes that 
could not leave her face. 

"What is it?" she asked softly. "You 
look as if you were in a dream." 

"I think this is a dream, and you a 
dream woman," he answered; "for I 
never saw anyone so lovely! There is 
something that makes you stand entirely 
alone, in a delicate, glowing radiance. I 
think the greatest charm of all is your 
wonderful coloring." 

The last notes of the waltz were quiver- 
ing into silence. "That is the end," she 
saiil. "1 think it is the beginning," he 
answered, still watching her. 




'•/ think it it tht beginning," he anrsvercd- 



A Happy Last Touch 



When you use the Pompeian Beauty 
Trio you can feel assured that your 
skin is always fresh and glowing, and 
that it will remain so almost indef- 
initely. 

Pompeian Day Cream is a vanish- 
ing cream that is absorbed by the skin, 
protecting it from dust, wind and sun. 
The delicate film that remains on the 
surface after the Day Cream has dis- 
appeared holds powder and rouge so 
well that constant re-powdering is un- 
necessary. 

Pompeian Beauty Powder is of so 
soft and fine a texture that it goes on 
smoothly and evenly. A light coating 
will last a long time; for this powder 
has, to a remarkable degree, the qual- 
ity of adhering. 

The Bloom is a rouge that is abso- 
lutely harmless. It comes in the de- 
sired shades — light, medium, dark, 
and orange tint. 

Use the Pompeian Trio together for 
Instant Beauty; for great care has 
been taken that all Pompeian Prep- 
arations blend perfectly. 



Remember, first the Day Cream, 
next the Beauty Powder, then a touch 
of Bloom, and over all another light 
coating of the Powder. 

"Don't Envy Beauty — Use Pompeian" 
Pompeian Day Cream {vanishing) 

6oc per jar 
Pompeian Beauty Powder doc per box 
Pompeian Bloom (the rouge) 6oc per box 



Pompeian Lip Stick 25c each 

Pompeian Fracrance, a talc 30c a can 
Pompeian Nicht Cream 50c per jar 

The MARY PICKFORD Panel 

and four Pompeian samples sent 
to you for 10 cents 
Mary Pickford, the world's most adored 
woman, has again honored Pompeian Beauty 
Preparations by granting the exclusive use of 
her portrait for the new 1923 Pompeian Beautv 
Panel. The beauty and charm of Miss Pickford 
are faithfully portrayed in the dainty colors of 
this panel. Size 28 x j'/i inches. 
For 10 cents tee tcill lend you all of these: 

1. The 1923 Mary Pickford Pompeian Beautv 
Panel as described above. (Would cost from 
50c to 75c in an art store.) 

2. Sampleof Pompeian DayCream (vanishing). 

3. Sample of Pompeian Beauty Powder. 

4. Sample of Pompeian Bloom (non-breakini: 
rouge). 

5. Sample of Pompeian Night Cream. 




Pompeian Laboratories, x\it Payne Avenue, Cleveland, Ohio 
Alio Made in Canada 

bay (ream Beauty Powder BIoom 



Tht GM Whc II', is 
Out of I >.itf 

II, \ImI )■ «N-I I I t 

M ago I ha. I a tall I: 
Irirml. She came in wrarilv. an.) tank inffi 
a chair. The brilliant altcrnoon sunlight 
Nil lull m lirr lair, an.) I ail appallrd 
when I saw how pair she looked. 

"What It the matter?" I a%'..r i, . 

ing to be (old 'bat the was ill. 

"Oh, I'm juit tireil," she said; " *• 
tirril I ilnn't care how I look." 

I was so indignant that for a moment I 
could not speak. There ii no possible ei- 
cufe for such an attitude! 

To make the best of herself is the con- 
ceded duty of every woman, \oung or old; 
and a modish gown means very little when 
her complexion is uncared for. 

"Come here," I aaid to her, "and let 
me see what I can do for you." 

First I used a vanishing cream, gently 
patting it into the skin. This was I' 
peian Day Cream. 1 always use this, N.r 
it leaves only a faint creamy film on the 
surface and holds powder and rouge so 
well. Next a coating of the soft, clinging 
Beauty Powder. Then a bit of rouge 
blended downward and outward from the 
cheekbone; dusting over all with a last 
touch of the powder. And this I had done 
to only one side of her face! 

I turned her around to face the mirror. 
You never saw anyone so surprised! She 
looked and looked, turning from side to 
•ide; and I don't wonder, for she saw two 
entirely different girls, and one was so 
much lovelier it seemed incredible. 

"That is what you can make of your- 
self every day, and it will take only a lew 
minutes," I told her. 

I couldn't help laughing at her aston- 
ishment; she had never had an idea she 
could be so pretty. She realized now the 
mistake she had been making, and w atched 
with the keenest interest, while 1 made 
the other side of her face just as charming, 
adding at the last a touch of Pompeian 
Lip Stick. 

She didn't say very much, but all the 
afternoon I saw her eyes straying I 
the mirror. I hoped then that she would 
profit by my little lesson, and I know now 
that she did, lor I've never seen her look- 
ing pale and weary since. 



e 192.1. Th« romp»i»n <•< 



[tOiMA^M- 



Specialist/ de Beaure 



TEAR OFF. SIGN AND SEND 
POMPEIAN LABORATORIES 

2Ut Payne Avenue, Cleveland, Ohio 

Gentlemen: I enclose loe 'a dime preferred) (or 1923 
Art Panel of Marv Plckfon), and the four • 
named in offer. 



Addre-- 



Cit%_ 



y ,,... .-».,. , . : r . . 






writs •rw.ir . • 



(SLrty-seren) 




The 

Modern 

Movie 

Hero 



Photograph hy Freulic 



Time was when a motion picture hero was a 
slender youth with beautifully creased trou- 
sers, slick pomaded hair and a gentle winning 
way. But a new sort has come into vogue — 
he-man stuff and growing more popular all 
the time. To the right is Eddie Sutherland a 
brilliant young athlete of the screen. Above is 
Reginald Denny the scrappy protagonist of 
the popular Universal "Leather Pushers" 
series 



Photograph by Richec 




Photograph by Evans, L- A. 




Left is the newest 
recruit to these 
gymnastic heroes, 
Charles de Roche. 
Robert Ryan is 
demonstrating the 
toe hold to him. 
It looks a bit un- 
pleasant 



(Sixty-eight) 



J~~iOSES from the seven 
M. exquiaite rf«nr»i given 
by Marinoff am p/ir/ of" 
nia training There i» a 
Crrrian D«m-e. a Clammical 
Toe Dane*, an Oriantal 
Dance, a Butterfly Dance. 
a ChmemeDance.a Spanish 
Dance and a "Raitedy 
Ann" Eccentric Dance 







W 



i 



£> 



Classic Dancing! 

Now you can learn at home under the 
personal direction of SERQEl MARINOFF 

SOMETIME in her life, every girl, every woman has dreamed of dancing. 
There is no more charming accomplishment — it is an important part of 
the cultured girl's education. Whether you study it for professional or for 
cultural purposes — or merely to enjoy the pleasant, body building exercises — 
it will bring great happiness into your life. 

And now you can learn dancing at home! Here is your opportunity to enjoy 
the advantages of real ballet training under this great master. Anyone can 
learn by this method. It is simple, easy, delightful. Marinoff has pupils of all 
ages. He teaches every pupil individually. 



Marinoff training is correct training. You could not get training like this except 
in the studios of the greatest masters of the dance. Tarasoff has endorsed the 
Marinoff system. Merriell Abbott, Director of the Abbott Dancers [Chicagc 
Theatre, Chicago], says: "A beginner who knows nothing of dancing can learn 
by this system." Marinoff training includes a complete outfit — a studio bar, 
practice costume, slippers, phonograph records and sheet music. This is fur- 
nished to every Marinoff student without charge. 



Write 



for free portfolio of dancers' pictures and full 
information about training and the fees for 
tuition. Merely send coupon. No obligation. 



SW CUrcwi Man'nnff — SCHOOL OF CLASSIC DANCING 

V« OCIgCl IVldrillUil 1924 Sunnv.ide Ave., Studio A- 127 Chicago. 111. 



M. Sergei Marinoff, School of Classic Dancing 
1924 SunnvsidV Ave., Studio A-l 27. Chicago 

Please send me free portfolio ol dancer*" picture* and lull informa- 
tion about your home study course in Classic Dancing. I understand 
that there is no obligation. 



Nam*. 



Addrtts . 



As,. 



(Sixty-nine) 



\ I be Movie Lncyclopd€cJici 




Faithful Fan. — Here we are in the Merry Month of May. 
Yes, Barbara LaMarr is playing in "Captain Apple Jack." Billie 
Dove's right name is Lillian Dove. Yes, indeed, I always manage 
to keep busy. Idleness is the key of beggary. 

Caroline Sunshine.- — Robert Frazer in "Fascination." Ethel 
Clayton and Malcolm McGregor in "Can a Woman Love Twice?" 
Yes, Eileen Percy and Kenneth Harlan with Irving Cummings in 
"East Side — West Side." 

Dorothy F. — Well, we men only demand that a woman should 
be womanly ; which is not being exclusive. Glad you liked the 
chat with Pauline Garon last month. No, William S. Hart is 
not living with his wife Winifred Westover. Jane Novak in 
"Divorce." If I understand correctly, she's had one already. 

Adam & Eve. — Please ter meet you ! As Addison says "As 
vivacity is the gift of women, gravity is that of men." Yes, 
Sarah Bernhardt was born in Paris in 1845 and died March 25, 
1923. She was planning to make a picture called "La Voyante" 
which was to be a story of her life, before she died. Malcolm 
McGregor is not married. Anita Stewart married to Rudolph 
Cameron, and Douglas Fairbanks was married to Beth Sully. 

Tell Me.— Anything ! Well I have found out that folks who 
never do any more than they get paid for, never get paid for 
any more than they do ! Mabel Normand's last picture was 
"Suzanna" and that is her real name. Mildred Davis at the Hal 
Roach Studios, Los Angeles, Cal. 

Chigo H. — Well I have learned that true wisdom consists not 
in seeing what is immediately before our eyes, but in foreseeing 
what is to come. Douglas Fairbanks is 40. Nigel Barry does 
not give his age. That is very expensive stationery you use. 
Pretty nice. 

Margaret E. — Well I am glad to hear it, but as someone 
once said, dont always be talking of your husband's devotion. It 
makes less fortunate women hate you and the rest disbelieve you. 
Joseph Schildkraut is 28. Yes, he is married, and is playing in 
"Peer Gynt" en the stage. His wife was Elsie Bartlett. Write 
me again, I liked yours. 

Guillermo. — Of course you can get all the back numbers by 
writing to our circulation department; 25 cents each you know. 

Jacob E. — You say all married women are not wives — speak- 
ing of bells, the Liberty Bell at Philadelphia was cast in London 
in 1752 and when the bell reached Philadelphia it was cracked 
when it was rung to test the sound, which necessitated recasting. 
On July 4, 1776 the bell was rung for two hours by an old 
bellman, who was so filled with enthusiasm and excitement that 
he could not stdp. It weighs about 2000 pounds. Bobby Vernon 
is with Christie Comedies, and he did play opposite Betty Comp- 
scn when she was with Christie. 

Betty Comtson Admirer. — Yes, address her at Famous Players, 
1520 Vine St., Hollywood, Cal. 

Just Teddy. — Yes, I am getting just one dozen dollars a week 
for answering questions. Really. Yes, still live in the hall room, 
and have my buttermilk daily. Thomas Meighan and Leatrice 
Joy with Lasky. Priscilla Dean 
with Universal. 

Movie Fan. — I can see that. No 
Ramon Navarro is not married, and 
he is 24. ■ When you have learned 
to make business a pleasure, and 
pleasure a business, you have mas- 
tered the science of living. I'm 
very happy. 

Natural Redhead. — Yes, tears 
are the strength of women. The 
plainest man who pays attention to 
women will sometimes succeed as 
well as the handsomest who does 
not. Lewis Stone with Lasky and 
Ramon Navarro with Metro. Bessie 
Love and James Kirkwood are play- 



This department is for information of general interest 
only. Those who desire answers by mail, or a list of 
film manufacturers, with addresses, must enclose a 
stamped, self-addressed envelope. Address all in- 
quiries: The Answer Man, Classic, Brewster Build- 
ings, Brooklyn, N. Y. Use separate sheets for matters 
intended for other departments of this magazine. Each 
inquiry must contain the correct name and address 
of the inquirer at the end of the letter, which will not 
be printed. At the top of the letter write the name 
you wish to appear, also the name of the magazine you 
whh your inquiry to appear in. Those desiring imme- 
diate replies or information requiring research, should 
enclose additional stamp or other small fee; otherwise 
all inquiries must wait th«ir turn. Let us hear from you. 



ing with Mrs. Wallace Reid in "The Living Dead." Harry Carey 
in "The Man From the Desert." Write me again. 

Donica D. — No I am not planning to get married next month 
There are plenty who are tho. But modesty in women is a virtue 
most deserving, since we do all we can to cure her of it. Betty 
Blythe has just finished "The Girl Who Got Everything." Leave it 
to Betty. Francis Ford, Peggy O'Day and Jack Perrin in "The 
Fighting Skipper." 
H. Marie. — No record of the players you mention. 
Brown Eyes. — Of course I am for the, I wont say weaker 
sex, because they are much stronger than men. As Emerson 
said "Women know at first sight the character of those with 
whom they converse. There is much to give them a religious 
height to which men do not attain." Pearl White has reddish 
brown hair. Clara Horton in "The Call of the Wind." 

Billie R. A. P. — Whow! You want the address of 18 players. 
I'm about to expire. Is there no rest for the weary? 

Mrs. F. F. Mc. — Oh I'm not such an old man that I dont sit 
up and take notice. If you intend to live into old age, study 
it while you are yet young ; and do not be an entire novice when 
you get there. Bebe Daniels is not married. Victoria Forde is 
Mrs. Tom Mix. Bebe Daniels and Gloria Swanson with Lasky. 
Write me again. 

Beautiful Iowa. — Beautiful letter, but all about Valentino. 
Why not. 

Olga. — Knowledge is power every time. Better that the feet 
slip than the tongue. The tongue's not steel yet it cuts. Anyway 
I cant hear you. Pola Negri is to start on "Don Csssar de Bazan" 
just as soon as she finishes "The Cheat." 

William G. C. — I'm sorry, but I cannot help you dispose of 
your scenarios. Most companies are buying stage plays and book 
rights. Send a stamped addressed envelope for a list of film 
manufacturers. 

Douglas McL. Admirer.— Drop your hat and somebody may 
bring it to you ; drop your pocketbook, and somebody may carry 
it off. Money fits any one. Here you are : Ethel Barrymore 
born in Philadelphia in 1879; George Beban in San Francisco, 
1873; Edmund Breeze in Brooklyn in 1871; Arnold Daly in 
Brooklyn in 1875 and Arthur Ashley in Brooklyn in 1886. Miss 
Dupont's first name is Margaret. She was Margaret Armstrong 
ence. Yes, the "Hettontot" has been done in book form. 
Louise S.— Interview with Richard Dix in February 1922 issue. 
Sparky Dear.— Of course I take g09d care of myself. The 
human system— mental, moral and physical — is such a large affair, 
that it is hard to ruin it in all its departments ; but it can be done, 
if you keep" right at it. Norma Talmadge is 27, five foot 
two inches. Katherine MacDonald is five foot eight, and the 
rumor that she was to be married is all off, so she says, and 
she intends to be an old maid. Ha, ha. You know she was 
Mrs. Malcolm Strauss once. 

Lena T— Well I'd hate to tell you what I think of some of 
the pictures. Rockcliffe Fellowes in "Stranger's Banquet." Ken- 
neth Harlan in "The Girl Who Came 
Back." Mae Murray and Ramon 
Navarro with Metro. 

Cutie Rosebud. — There are three 
things that women throw away— 
their- time, their money and their 
health. So you want to watch out. 
Address Mary Pickford at the 
United Studio, 5341 Melrose Avenue, 
Los Angeles, Cal. Nazimova is 
playing in "Dagmar" on the stage. 
Jerne Blue Eyes. — You are one 
of those who seem to want this 
department to be devoted to answer- 
ing questions about myself. I much 
prefer to remain in the background 
and to be known by my works. 



(Seventy) 



What i i-.it, how i ileep, how long 

peel i" ii\>\ die length ol nu I 
the lite of mj iboet, etc., etc., will ell be 
u'it on tiblei of itone for the benefit 
,.! !*>>[< i !i\, but i«'t the pretenl I prefer 
to retire Into innocuoui desuetude, ;is far 
.••, myself am concerned, and devote these 
previous pages to tin.- interests ol m 
rherefore k null > shoo fly, donl bother me 
Address l loyd Hughes at the fnc Studios, 
Culver City, I 

Cuuous Priscilla Dean is married to 

Wheeler Oaktnan, Bryanl Washburn is 

.id to Mabel Forrest and Dorothy 

Dalton has been married to Lew Cody. 

. Terry is playing in "Scararnouche." 

I'nr Ki" So you want a name tor 

your pfirls' club. What next Call it the 
Chloris, the goddess oi flowers, or Kama, 

the 1 [indoo god Of love. 

Mari Movies. — Poor child you have 
\our troubles with I'.liot Mae Murray at 
Metro. 1 025 Lillian Way. Los Angeles, 
Cal. Malcolm McGregor with Metro also. 
Before marriage, woman is a queen; after 
marriage, a subject. Tell me more about 
your favorites. 

JUST Ma.— Yes, indeed Elsie Ferguson 
is playing in "The Wheel of Life*' on the 
Stage. Of course I am always glad to 
hear what you like in this magazine. \\ e 
want to please you, you know. 

Margaret S. — All the way from Liver- 
pool, too. I say, old dear, you can get 
a list of the correspondence clubs if you 
send me a stamped addressed envelope. 
Dont put an English stamp on the 
envelope tho. Yes, J. Stuart Blackton is 
back in this country, and I am glad to say 
he is once more an officer in the Vitagraph 
Company which he helped to start years 
ago. 

Dorothy. — You say men would be 
saints if they loved God as they love 
women. I confess. Yes, Ethel, Lionel and 
John Barrymore are brothers and sister. 
Xo, Valentino will not be seen in pictures 
for two years. 

Acnes C. — By "Iris In" we mean when 
you see just a small part of the film thru 
the lens, and gradually you see the whole 
picture on the screen. Fox is going to 
produce "The Fool" for the screen. Vir- 
ginia Brown Faire in "The Vengeance of 
the Deep" with Ralph Lewis. Tom Moore 
is coming back to the screen. 

S. Moxty. — Why I believe it was Mar- 
shall Xeilan who discovered Wesley 
Barry'- Alice Brady with Lasky. Lillian 
Gish not married. John Bowers was the 
policeman in "Manslaughter." David 
Powell is with Famous Players and Theo- 
dore Kosloff is playing in "Children of 
Jazz." 

Little Rose; Ditto Dotty; Galee P.; 
Doris Rose; Frances S. ; Doris M. ; Miss 
Bloomer; Marjorie M.; Pete; L. C. ; 
Helex M. ; Lorraine; Jewel and Vaud- 
v.u.LiAN — Sorry to put you in the also rans, 
but your questions have all been answered 
above. 

Murrel from Baltimore. — Well, La 
Rochefoucauld says, "It is valueless to a 
woman to be young unless pretty, or to 
be pretty unless young." I dont agree 
with him. I know lots of pretty women 
at forty-five. •"Glimpses of the Moon" 
will be released soon. Lon Chancy is with 
Universal. Shirley Mason with Fox, and 
Viola Dana with Metro. 

Us Girls— Hello, girls. You want more 
of Joseph Striker. I'll tell the Editor. 

Captain Joe.— You know that Balzac 
said, "The man who enters his wife's 
dressing-room is either a philosopher or 
a fool." Take heed, young man. Robert 
Leonard is Mae Murray's husband. Xo 
children for the Meighans. Gloria Swan- 
son in "Bluebeard's Eighth Wife." 

Irene P.— Monte Blue will play the 
(Continued on page 72) 




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Osgood Perkins in his picturesque role in the Film Guild 
production of "The Scarecrow" promised for early release 



The Movie Encyclopaedia 

(Continued from page 71) 



doctor in "Main Street." Madge Kennedy 
will do "The Purple Highway" when she 
returns from Japan. So you would like 
Miss Dupont to use her first name, rather 
than Miss. Glad you like Classic. 

May F. - B. — Universal City and Holly- 
wood are very near each other. 

Margaret N. — Be sure that your husband 
carries each day the impression that he 
left at home that morning the most charm- 
ing, cheery, freshly gowned woman in the 
city. Leatrice Joy is with Lasky. Col- 
leen Moore with Vitagraph. Richard Bar- 
thelmess was born in New York in 1897. 
Baby Peggy is with Century Comedies, 
Los Angeles, Cal. 

Jane Acer. — Leatrice Joy is married to 
Jack Gilbert, and her last picture was 
"Minnie." 

Grace D. — The popular belief that it is 
unlucky to spill the salt probably orig- 
inated from Leonardo da Vinci's picture 
of "The Last Supper," in which Judas 
Iscariot is represented as spilling the salt. 
Or da Vinci may have so painted it to 
embody in his picture a -then popular super- 
stition. A gift of bread and salt was a 
token of friendship; salt was a sign of 
amity ; so spilling a man's salt may have 
betokened enmity. Enough about that. 
Lloyd Hughes with Ince. Clara Young 
does not give her age. 

L. M. L. — Thanks. I am glad you trust 
me. To be trusted is a greater compli- 
ment than to be loved. No, William Dun- 
can is not dead. Charlie Chaplin in "The 
Pilgrim." 

W. A. D.— No. She never does. Betty 
Compson is not married. Glenn Hunter 
has signed a five-year contract with 
Famous Players-Lasky. 



Peggy O. — So you dont want Pearl 
White to enter a convent. No, neither do 
I. Last report, Blanche Sweet was still 
living with her husband. Malcolm Mc- 
Gregor is playing opposite Ethel Clayton 
in "The Greater Glory - " 

Alice A. — Of course, I am over seventy 
years old. My beard isn't that old, tho. 
Elaine Hammerstein is an American. She 
is twenty-six ; address her at the Selz- 
nick, United Studios, Los Angeles, Cal. 

Brown Eye Billey. — Yes, Betty Comp- 
son is twenty-five. Vincent Coleman is 
married to Marjorie Grant. 

Suffomore. — You're right, the whisper 
of a beautiful woman can be heard further 
than the loudest call of duty. Betty Comp- 
son is playing in "The White Flower," and 
Pola Negri in "The Cheat." 

Florence Mc. — Yes, Norma Talmadge 
is twenty-seven. Gareth Hughes played in 
"Kick In." His right name is Ramon 
Sammanyagos. Lila Lee opposite Thomas 
Meighan in "The Ne'er Do Well." Valen- 
tino was born in Castellaneta, Italy. 

Blonde; Margaret R. ; F. B.; Arline 
G. ; Petie; Butter Cup; Buffalo; 
Donah ; Katherine MacDonald Ad- 
mirer; Betty H.: G. H. ; Walter Bebe 
Daniels; Jeanne E. ; Peggy; Thais; 
Irma T. ; April K. ; Wanda P. ; Molly 
O.; Katherine; Pat; Eleanor A.; B. 
B. ; Blue Eyes; Nan; Dorothy F. ; 
Ruth O. ; Movie Fan ; Billie A. ; and 
Jazimova Sorry to put you in the also- 
rans, but your questions have been an- 
swered up above. Write me again. 

North Rustico. — Yes. some movies do 
cost as much and more than $2.00 a seat 
in New York Citv. You were right. 



(Seventy-two) 



Flashes From the Eastern Stars 

ontintttd from pagt 53 • 

the difference In their sizes in the 
picture yen will remember thai tlu- 
waa prett) brave Wolheim ia a 
giant of ovei twi> hundred pounds 
and Marion is a slender ^hp of a 

P r1, . • 

rhe next misfortune was that ;ill 

the mules employed gol a bad case 

of Kleig eyes! Oi course they 

wouldn't work and production \\a> 

held up for two days until they could 

find sonic blind mules which would 

serve just as well. 



Balieff's Chauve-Souris, thai glori- 
ously original Russian Vaudeville 
has passed its five hundredth per- 
formance. Not a word of English 
is spoken at these performances, 
which makes it a rather remarkable 
record. 

Gloria Morgan, daughter of one of 
our richest and finesl families who 
recently became the bride of Regi- 
nald C. Vanderbilt, has a small part 
in "Enemies of Women" a Cosmo- 
politan picture now running on 
Broadway. 

Robert J. Flaherty. F. R. G. S., 
producer of ''Xanook of the North," 
has left for the Samoan Islands to 
film for Paramount a South Sea 
picture similar in treatment to the 
Eskimo production. He was guest 
of honor at a testimonial dinner at 
the Waldorf given by the publisher 
and editor of Asia Magazine. Lloyd 
Griscom. former U. S. Ambassador 
to Japan, was toastmaster and the 
guests included people prominent in 
motion pictures, art, literature, 
science, journalism and public af- 
fairs. 

After five postponements of his 
sailing date brought about by the 
success of "The Fool," Channing 
P'ollock will actually go to France 
late in April for the production of 
"The Sign on the Door" at the 
Renaissance Theatre. The French 
version of "The Sign on the Door" 
has been made by Andre Pascal 
i Baron Henri de Rothschild) and 
the role of Mrs. Regan, played here 
by Marjorie Rambeau and in Lon- 
don by Gladys Cooper, will fall to 
Louise Gauthier. 



WHY 

By Margaret Mayfield 

I'm not 

Particularly beautiful, charming or wise, 

B"t when I asked you why you loved me, 

\ ou said : Because you are 

Adorably pretty, charming and wise ! 

I wonder why? 




It was a pity 
no one told him 

HI", was an honor man in his class at college — popular 
with every one — giving promise of carving his notch 
high up on the ladder of success. 
An unusual business opportunity came his way shortly 
after he was out of school — better than most young men are 
fortunate enough to secure. He certainly started out with 
a bang. Every one remarked about it. 

• • * F| ve years passed. Howard Chapman, who had set out 
so brilliantly, was still almost precisely at the point where he 
started. Other young men' who hadn't nearly his opportunity had 
out-distanced him each year. 

What invisible thing was it that held Chapman back? Some 
of his closer friends undoubtedly knew but didn't have the heart 
to tell him. It was really a pity. 



That's the insidious thing 
about halitosis (unpleasant 
breath). You. yourself, rarely 
know when you have it. And 
even your closest friends won't 
tell you. . 

Sometimes, of course, halitosis 
comes from some deep-seated 
organic disorder that requires 
professional advice. But usually 
— and fortunately — halitosis is 
only a local condition that yields 
to the regular use of I.isterine 
as a mouth-wash and gargle. 

It is. an interesting thing thai this 
well known ant- his been 



in use for yeari for surcica' dress- 
ings, possesses these peculiar i roper- 
ties as a breath deodorant. It halts 
food fermentation in the mouth and 
leaves the breath sweet, t'resh and 
clean. So the s\stem.itic use of 
I.isterine puts you on the safe and 
te side. You know your breath 
is right. Fastidious people every- 
where are m;ikmg it a regular 
of tli.'ir dail) routine. 

with I.isterine. He sells lots of it. 
It has dozens oi different uses as a 
safe antiseptic and has been <• 
as such for a half a cental 

that 
conies uitl- every bottle 
Pharmacn. 
U. S. A 



HALITOSIS 




use 
LISTERINE 



Seventy-three) 



Your Figure 

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THE OLIVE COMPANY 



Dept. 210 



CLARINDA, IOWA 



The American Beauty Has Been Chosen! 

At last the difficult task has been completed. Too late for 
editorial space in this number the judges named the winner of 
the American Beauty Contest which has been conducted in the 
four Brewster Publications. 

Next Month You Will Know Who She Is 

Already the cuts of her new photograph have been made and 
the story about the judges' final decision is now being prepared. 
So, without any doubts, the announcement will appear in the 
July number. 

There Are Honorary Mentions Too 

Of course the winner was selected from a certain few and the 
remaining members of that select group have been given hon- 
orary mention 

Dont Miss The Judges' Decision 

in 

&/>e July Motion Picture Magazine 



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Little Old New York 

(Continued from page 31) 

A Patricia in poke bonnet and 
frilled gown was hard to deal with. 
A trembling girl who told her ex- 
traordinary story truthfully and tear- 
fully managed to move the Town 
Council more than it would have in- 
dividually been willing to admit. A 
timid fluttering bit of femininity who 
sat beside and held the hand of the 
man whose fortune she had Stolen 
presented an ethical problem that was 
too much for the Town Council. Its 
moral sense had been outraged. Some- 
tiling assuredly must be clone. 

But what? 

Finally old John Jacob Astor came 
to the rescue of the Town Council's 
dilemma. Larry and Pat — er — Miss 
Patricia would better take a trip to 
England until things blew over. He 
personally would see that there was a 
minister on the boat to marry them. 
Larry and Patricia looked at each 
other in joyous surprise. This was 
the best news in the world for them. 

Later, in Patricia's own garden — 
rather Larry's own garden — or — er — 
that is — Larry's and Patricia's gar- 
den, Patricia murmured something 
about the luck of the Irish. "And 
anyway," she added, "the money is 
just as much mine now, as tho it was 
really mine." 

Which cryptic utterance Larry 
seemed to understand very well, be- 
cause he said, "Perfectly right Paddy 
darling — as long as you take me with 
it." 



The Hollywood Boulevardier 
Chats 

(Continued from page 66) 

companions had been entertaining 
themselves during the afternoon by- 
trying to kill the jail matron. 



Richard Walton Tully is bringing 

over a French actor, Maurice Ca- 

nonge to take the part of "Zouzou" 

in Trilby. A Parisian actress, Mile. 

Lafayette will take the part of 

Trilby. 

* * * 

As an indication of the present 
scarcity of actors, Tully Marshall is 
acting in four pictures at once ; he 
is Louis XT in "The Hunchback of 
Notre Dame" ; Professor Futvoye in 
the "Brass Bottle" ; the hermit in the 
"Talisman" which will be the first 
picture to be made by the new Frank 
Woods producing corporation and 
has a part in a play called "Twenty 
Dollars." 



(Scvcnty-faur) 



imagine 1 



v Lunch With Gl >ria 

mtinutd from page 3 I ) 

tabic at which sat most of the distin- 
guished high-salaried scenario writ- 
of the motion picture industry 
"The) will nol lei an author tell a 
j that is like lif< 
"But would the public like real life 
as it really is?" 

"I wonder," Gloria mused. And 
then she added. "Of course they 
wouldn't believe it. 
wouldn't believe it myself. 

"For instance there is my director. 
Sam Wood. The other night he was 
held up on the street by some ban- 
dits. One of them poked a revolver 
against Ids ribs and told him to 
throw up his hands. Sam said they 
could kill him if they wanted to but 
he'd be darned if he would throw 
up his hands. Could you make any- 
body believe that on the screen — a 
young fellow with every brilliant 
promise in life, ready to die rather 
than to hold his hands up over his 
head? The bandit couldn't believe it 
himself apparently, lie ran away. 

"Just so. yon see every actress 
on the screen make wild clutching 
gestures in moments of great trag- 
edy. Of course that is contrary to 
nature. Fear, terror, dismay are all 
emotions that contract. If you are 
really and truly terrified you cant 
scream: your throat contracts. Your 
shoulders sort of hunch into your 
body : yon grow small : you shrink, 
"i hie time I saw a man being sen- 
tenced to be "hanged. lie didn't do 
the way they do on the screen. lie 
acted like an embarrassed boy who 
has to speak on Friday afternoon at 
the high school, lie had a dinky lit- 
tle hat which he kept fingering in the 
most careful and painstaking way. 
When it was over, he slid back into 
his seat as tho being hanged didn't 
matter so much if he didn't have to 
stand up in the presence of a crowd. 
"Some daw 1 imagine, some great 
screen genius will come along and 
discard all these conventionalized 
methods with one gesture." 

"At that." said Gloria, with a sud- 
den change oi tone. "I want t 
on the speaking stage some day." 
"So that's the big ambition'" 
"The big ambition is twins." said 
Gloria. "1 want to be a great actress 
in plays that have words and I want 
to lie a really successful mother. If 
you could see that baby of mine, 
you would realize that she is my 
masterpiece. She is the sweetest . . ." 
But when these young mothers 
start like that, experience teaches us 
that it is high time to look at the 
watch and hustle back to the studio. 





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PARIS 



FULTON > I. 

■ YORK 



(Seventy- five) 



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DR. THOMAS LAWTON 

120 West 70th Street, 
New York City. Dept. 2S6 



Ask Ziegfeld==He Knows 

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Wouldn't You Help Her Too? 

The young girl who stands with reluctant feet — 
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Half Chinese and Wholly 
Lovely 

{Continued from page 41) 

half caste children. Somehow or 
other, she met the wife of a movie 
director at a party and . . . Well, 
of course, you can guess the rest. 

"'Say something in Chinese," I 
challenged. 

"I — I cant, I dont know any." 

"You ought to be ashamed of 
yourself." 

"I am." 

And then she explained. "I used 
to speak Chinese when I was a child, 
but somehow I got out of the way 
of it. I am awfully proud of my 
Chinese blood tho. It gives me a 
little thrill of pride when I hear some 
one say: 'She looks Chinese.' 

"It seems to me sometimes as tho 
I were two persons. Especially when 
1 get angry. My mind seems to be 
French and I get all stirred up. Then 
way clown in my soul something old 
and oriental seems to say to me 
"There, there, child, it doesn't matter ; 
nothing matters.' And I calm down 
again. It seems as tho the European 
side of my nature kept suggesting 
things for me to do and the Chinese 
part of me sat in critical, calm judg- 
ment on the project." 

"Everything in the world seems to 
have been discovered by the Chinese. 
I suppose they had motion pictures a 
couple of million years before we ever 
heard of them," I suggested. 

She laughed. "Well I wouldn't say 
that ; but it is true that my father's 
people were telling stories in the mo- 
tion picture way when your father's 
people were wandering around killing 
animals with their hands and tearing 
the raw meat with their teeth." 

??????? 

"Well," she answered. "Telling 
stories by pictures is merely getting 
back to the realms of suggestive art. 
That is to say, discarding words 
which are an impediment to the im- 
agination of the hearer. The Chinese 
have been telling stories that way for 
countless ages. For instance, Chinese 
poetry eliminates this clutter of 
words. A Chinese poem will only 
indicate the symbols upon which the 
imagination is to fasten itself. A 
poem will read like this: 

"A tower 

"A dark lake 

"A Woman's face at a window 

"Villain lurking in shadow. 

"Lover with lute, etc. etc. 

"If that isn't what they call 'Pic- 
ture stuff' then I dont know what is!" 

What I answered was, "fust in- 
deed." 

What I was thinking was, "Girl, 
if you aren't picture stuff, then I 
dont know what is." 



(Seventy-six) 



I 



The Heavy 
ontimttd from page 37) 

right side of the fence, despite my 
questionable personality, I trusl my 
audiences will be more kindly in 
their thoughts of me." 

\t this time Mr. Torrence is 
working with Lon Chanej in "The 
Hunchback of Notre Dame," at the 
Universal studios. This will l>e a 
mammoth production and will keep 
liim bus) for months. In this picture, 
our erst-while comedian will be seen 
as a king of the Paris underworld. 

"I wouldn't return to the speaking 
stage— or to the East, for worlds," 
laughed this versatile giant. "We 
are building our home here now, out 
at the end of Hollywood Boulevard 
just ;i- you enter beautiful Laurel 
Canyon, and where the gorgeous 
mountains will greel us continually. 
Outside of my work at the studios, 
my <mly interests are home, my 
piano, nn golf, and my family. We 
indeed a happy three." 

Then 1 was introduced to "num- 
ber three," Ian (O.K.) Torrence, a 
sturdy lad of fifteen who will soon 
be as unbelievably tall and firmly 
knit as his father. 

Mr. Torrence is a native of Edin- 
burgh, Scotland. Following years 
of study in piano and voice at Stutt- 
gart, Germany, he taught music in 
his home town. Then came further 
study at the Royal Academy of 
Music. London, where he was 
awarded the Westmoreland scholar- 
ship, and a gold medal for opera. 

It was following this training he 
began his stage career in comic 
opera, and appeared in the last work 
of the famous Sir Arthur Sullivan, 
just prior to that writer's death. For 
ten years he played at the Savoy. 
Lyric, Gaiety, and Adelphi theaters 
in London and in the provinces. In 
1911 he came to America. 

"Those ten years were rilled with 
hard work, many disheartening ex- 
periences, and utter misery at times." 
Mr. Torrence said dreamily. But 
my coming to America brought great 
luck. My first appearance in this 
country was for Al Woods, in 'The 
Only Girl,' and 'The Night Boat.' I 
was with the latter when I got my 
chance for pictures." 

So when you see Ernest Torrence 
again, tho he may be cruel to the 
"nth" degree, remember the many 
steps he has taken to reach his goal. 
First as a musician, then a singer, an 
actor, a comedian, and now a heavy. 
Admire him for his perseverance 
and undaunted ambition, which 
nothing could kill, even tho it landed 
him in the hardest role of his life. 

O. yes indeed. "One may smile 
and smile, and be a villain !" 



m 



a 



i 





You Must Fight 

The film on teeth, or you may suffer 



Under old brushing methods, few 
escaped tooth troubles. Beautiful teeth 
were seen less often than now. 

In fact, tooth troubles constantly in- 
creased — became alarming in extent. 
That's what led to this new method, 
which has brought to millions a new 
dental era. 

Those dingy coats 

That viscous film you feel on teeth 
is their chief enemy. 
It clings to teeth, 
enters crevices and 
stays. Food stains, 
etc., discolor it. Then 
it forms dingy coats. 
Tartar is based on 
film. That's why teeth 
lose luster. 



Avoid Harmful Grit 

Pepsodent ctutHes the film and 
removes it without harmful 
gcourintr- lt~ polishing acrenl is 
tax softer than enamel. Never 
usea Mini combatant » hlch con- 
tains harsb irrit. 



Film also holds 
food substance which ferments and 
forms acids. It holds the acids in con- 
tact with the teeth to cause decay. 
Germs breed by millions in it. They, 
with tartar, are the chief cause of 
pyorrhea. Thus most tooth troubles 
are now traced to film. 

Almost universal 

Film-coated teeth were almost univer- 
sal. The ordinary tooth paste could not 
effectively combat film. So dental science 
set out to find effective film combatants. 



Two methods were developed. One 
acts to curdle film, one to remove it, 
without any harmful scouring. 

Able authorities proved these meth- 
ods effective. Then a new-type tooth 
paste was created, based on modern 
research. These two great film com- 
batants were embodied in it. 

The name of that tooth paste is Pep- 
sodent, which leading dentists of some 
50 nations are advising now. 

Fights acids too 

Pepsodent also 
multiplies the alka- 
linity of the saliva. 
That is there to neu- 
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the cause of tooth 
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It multiplies the 
starch digestant in the saliva. That is 
there to digest starch deposits which 
may otherwise ferment and form acids. 
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People who see the Pepsodent effects will al- 
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Send the coupon for a 10-Day Tube. Note 
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(Seventy-seven) 




You Cant Forget 



There's nothing so wonderful, so 
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This time-tested lotion preserves 
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DERT is a Cream rouge, which means that 
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the ears. 

PERT lasts all day or evening until you 
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Send a dime for a generous sample of PERT 
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Makers of Winx, The Liquid Lashlux 
78 Grand Street New York 



The Madness of Youth 

( Continued from page 57) 



him, stripping off her mask. "I 
wondered what had become of you," 
she said. "So you're here, Louise." 
Javalie spoke without surprise. The 
dancer nodded. "Yes, I'm here. What 
are you going to do about it ? After 
all, Jaca, did you suppose that you 
could do what you did do to me 
without ever hearing of it again?" 

"What do you consider that I 
'did' to you?" 

"The writers of fiction would say 
that you had broken my heart. As 
I probably have none, you have 
merely made me hate yen." She 
laughed, mockingly. ( How differ- 
ent from the delicate mockery of 
Nanette!) "How funny you look 
in your religious rags !" she said. 
"How funny it will be when I tell 
them who you really are !" 

Javalie leaned toward her. 
"Please," he said, "dont do that. 
I've been waiting three years for this 
chance. Dont spoil it. If I'm suc- 
cessful', and T will be if you will help 
me, I'll divide with you . . . I'll . .* . 
I'll go away and marry you . . . 
only let me get the money in that 
safe! Later, after your dance, I'm 
going to speak to the guests. I want 
in make my final effect. They be- 
lieve you a famous vampire. Help 
me . . . pretend that you are a 
convert to my spiritual fervor. 
Think, Louise, money and a far 
country . . . think!" 

Louise looked at him, narrowly. 
If be had been thinking of her per- 
sonally he would have seen that he 
was safe. There was love of him in 
her eyes. She nodded. "All right," 
she said, "speak your little speech, 
Jaca, and I'll pretend that you've 
saved my soul." 

Javalie spoke to them. He stood 
on the balcony with the summer 
winds ruffling his sacerdotal rags and 
the moonlight encircling his head 
like a halo. He told them he was 
speaking, not of religion but appeal- 
ing to their better selves, to the spir- 
its that lived in their bodies, to their 
hearts. . . . The faces looking at 
him were stirred and strange when 
be had finished. Old Theodore P. 
Banning kept clearing his throat. 
Nanette shifted from one foot to the 
other and her eyes ceased their 
mi H-king and became tender and ab- 
sorbed. Under cover of the rose- 
bushes Ted moved nearer to his wife 
and was silent while she told him her 
sweet secret. And at the very end 
the beautiful dancer stepped from 
the »roup and knelt beneath the bal- 
cony where- Javalie stood. "I want 
lo ask forgiveness of my sins," she 



pleaded. She could have had no 
more emotion if she had been in 
earnest. What an actress she was, 
Javalie thought, and his fine lips 
curled. 

The Banning estate was quiet with 
sleep. Theodore P. alone was awake, 
sitting in his library pondering the 
events of the evening. To him came 
the holy man. Javalie. "Why dont 
you go to bed?" be asked his host, 
"you look tired . . . worn." Ban- 
ning nodded. "I am," he said. Javalie 
stood before the older man and 
passed his hands over the grey head. 
"Then sleep," he began to intone, 
"sleep . . . sleep . . . sleep . . ." 
Banning relaxed and closed his eyes. 
When his breathing was quiet and 
his hands limp Javalie took him by 
his arm and led him softly to the 
great vault in the other room. "Open 
this," he commanded and, automat- 
ically, perfectly, Banning obeyed. 
As he did so. Javalie jotted down the 
combination in a note-book and then, 
as quietly, led the tranced man back 
to his chair. 

Javalie's mission in the Banning 
home was complete. Where was the 
victory? Where the wine of tri- 
umph ? 

As be turned to leave the room, 
the older Banning being now relaxed 
into normal, quiet slumber, he found 
Pete Reynolds waiting for him. "So 
that's your game, is it?' he asked. 



grimly, 



"thought 



so. I've been 



watching you. 

Javalie nodded. "A crook/' he 
said. "yes. One of the best. Are 
you going to spill the beans?" 

"I might not." Reynolds said, "for 
a — consideration." 

The two men entered into an 
agreement, and Javalie promised to 
have the money extracted within 
twenty-four hours. 

The only person who did not sleep 
in the Banning home that night was 
Jaca Javalie. The only man who 
could find no peace was the man who 
had brought peace to the household. 

Tn the morning Ted came to his 
father and told him that he was go- 
ing away with his wife to work for 
her with his own hands. Javalie 
had showed him what he was doing, 
he said. He wanted to "begin 
again ..." He thought that he 
could. Old Theodore P. took his 
grown son info his arms and kist him 
as he bad not done since Ted was a 
boy. "I'll build you a house, son." 
he said, "and you can start in that." 
{Continued on page 80) 



(Seventy-eight) 



NoWonder Rouge Never Gave 
a Natural Color ! 

But at last Science has solved the \ 
baffling Secret of Nature's own 
lovely flush / 



SCIENCE now discloses thai no 
known shade of purplish red — 
the familiar color of rouge— can 
ever duplicate Nature's perfect ar- 
tistry. Xo matter how skilfully rouge 
IS applied, the task is impossible. 

In creating the wonderful new 
Princess Pat Natural Tint, the ureal 
handicap of rouge came to lii/ht ! The 
startling discovery was made that to 
obtain perfect results, such as Nature 
gives, the color used iiu<si positively 
change upon the skin after it is ap- 
plied. Xo wonder, then, that rouge 
never gave a natural color! 

No more amazing development has ever 
been accomplished in beauty's name than 
the finding of Princess Pat Tint. No 
more fascinating story has ever been told 
than the long search by a famous English 
Scientist for the mysterious "X-Tint" 
which should duplicate Mature. 

Like many gr°at discoveries, chance 
gave the inspiration and a happy accident 
brought about the final triumph. Chance 
led the famous creator of Princess Pat 
Tint to banteringly criticize the tell-tale 
rouge upon the cheeks of a feminine 
acquaintance. She in turn challenged her 
critic to use his vast store of know! 
to produce something better. Thus ;i 
scientist turned his hand to a task which 
had baffled the cosmetician since rouge was 
first used. 

Search was made first for some actual, 
definite color, which would simulate the 
marvelous beauty of Nature's handiwork 
when the cheek is divinely mantled with 
soft pink and creamy white. Time after 
time the attempt was made to perfect 
ordinary rouge, to so modify the familiar 
purplish red that it would appear natural. 
But with every resource of science avail- 
able, the effort proved futile. 

Rut the scientist worked on, with his 
assistant the subject for experimentation. 
Casting aside red tints as impossible, hun- 




dreds of differ- 
ing shadings of 
delicate 

were used. Many 
were an improvement, 

but none perfect. 

Then accident step- 
ped in, and bj 
chance a rare and 
costly ingredient was 
nied. The result was 
an unknown shade of 
delicate orange, beau- 
tiful indeed, but nol the color one would 
ordinarily select to match Nature's per 
feet complexion. 

Idly enough, this new shade was tried 
upon the assistant's cheeks. And then a 
wonderful thing happened, Instantly the 
coloring underwent a subtle alteration. The 
orange tint changed upon the shin! The 
scientist exclaimed in amazement! For be- 
neath his startled gaze there had appeared 
the absolute perfection of Nature's own 
coloring, the blending of delicate pink and 
white that marks the transparent beauty of 
the famous English Complexion. The amaz- 
ing "Million Dollar Beauty Secret," Prin- 
cess Pai Tint, had at last been discovered. 

Princess Pat Tint Is Waterproof ! 

Still the scientist was not satisfied. He 
determined to make this new tint water- 
proof. And such wonderful success at- 
tended his efforts that one may actually 
go in bathing without the slightest impair- 



"The Amazing Million Dollar Beauty 
Secret Had At Last Been Discovered" 



ment of coloring. Princess Pat Tint on 
the cheeks will not run or streak, even if 
rubbed with water. Perspiration does not 
affect it. Yel it vanishes instantly beneath 
a touch of cream or the use of soap. 
Princess Pat Tint comes in only 
shade, of course: fur the one shade /'lends 
perfectly with mplcxionl It 

perfect in daylight as under artificial light. 
So it is no wonder that Princess 1'at Tint 
has become a sensation — the demand in 
\ew York, Chicago, and other large cities 
has been simply overwhelming. Deal- 
ers ever y w h e r e 
are being supplied 
as fast as possible. 
Meanwhile, how- 
ever, we will be 
glad to -end Prin- 
cess Pat Tint free 
very woman 
who reads this ad- 
vertisement. 





— the New, Natural Tint — Always Ask for It By Nairn 

PRINCESS PAT, Ltd., Chicago 

Princess Pat Tint — Princess Pat Creams — Almond Base 
Face Poivder — Ice Astringent — Princess Pat Perfume 



Mail This Coupon 1701717 

For Generou: Sample A, 1\ J_J J_J 

I 

■ PRINCESS PAT, Ltd. 

Dept. 46, 2701 South Park Ave., Chicago 
ENTIRELY FREE, pli 

a complim ['int. 

I te (Print) 

I StTeet . . 

I City an'! 



(Seventy-nine) 



WL. DOUGLAS 

NAME AND PORTRAIT is the best known shoe 
Trade Mark in the world. It stands for the highest 
standard of quality, style and workmanship at the 
lowest possible cost. 

W. L. DOUGLAS shoes are actually demanded year after 
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BECA USE W. L. Douglas for forty-six years has been 
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NO MATTER WHERE YOU LIVE 
shoedealerscan supply you with W.L. 
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cities, ask your shoe dealer for W. L. 
Douglas shoes. Protection against 
unreasonable profits is guaranteed 
by the name and price stamped on 
the sole of every pair before the shoes 
leave the factory. Refuse substitutes. 
The prices are the same everywhere. 

IF NOT FOR SALE IN YOUR 
VICINITY WRITE FOR CATALOG. 




W L DOUGLAS 
PEGGING SHOES 
AT 7 YEARS Cf AGE 




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& $5.00 
B0YSSH0ES 

President & 
W. I. Douglas Shoe Co. 
174 Spark Street Brockton. Mass. 



Ernst Lubitsch Had No 
Traditional Ideas About Mary— 

That is why Harry Carr's story with this European director, 
who after his continental success has come to America to direct 
Mary Pickford, is so unusually interesting. And besides dis- 
covering just what Lubitsch thinks of America's Sweetheart, 
Harry Carr gives you a vivid impression of the dynamic little 
master-man himself. . . . 

Also there is a fascinating story as told by Harold Lloyd's 

. mother about the screen bespectacled comedian as a boy in the 

rural towns of the Middle West. There are any number of 

pictures showing him thru the early years of his life. And 

there are countless amusing incidents about his boyhood. 

And, if you are interested in amateur theatricals, the July 
Motion Picture Magazine will be of untold help to you. 
It contains the first of a series of articles on the Little Movie 
Theaters in America. It advises you how you can go about 
establishing an amateur movie company in your town. And 
these articles are written by experts who have already over- 
come all the difficulties which would arise in an undertaking of 
this nature. 

There are pages upon pages of new pictures too — and the 
latest news — and more good things generally than there is 
room to talk about. 



X5he July Motion Picture Magazine 

On the Newsstands June 1st. 



QQ Days' Free Trial 

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The Madness of Youth 

(Continued from page 78) 

In his room Javalie was reading a 
note from the dancer, Louise. She 
told him that the joke was on her. 
That last night, in the garden as she 
had knelt at his feet, the game had 
suddenly become reality to her. The 
words she had meant to say with her 
lips had come, somehow, from her 
heart. "She was going away, back to 
her own people. ..." 

Javalie was strangely shaken. His 
two natures rose and fought within 
him. He had, like Louise, come to 
this house to play a skilfully con- 
trived role, and lo, like Louise, too, 
the role had become reality. These 
people had accepted him. His ex- 
hortations had come true. He felt 
suddenly defiant. He would shake 
off this weakness, this softness, that 
had come to him as to the whole 
household. He went unsteadily from 
his own room to the vault room. 
The family were in the garden. He 
would accomplish his mission and 
steal away. It would all be over, the 
moonlight, Nanette . . . 

The vault room was heavy with 
silence. He had the combination 
clearly before him, but somehow the 
room revolved. He couldn't seem 
to see very well, to stand very firmly. 
He gave a little moan and fell to the 
ground in a sorry heap. 



When he came to, he was in Na- 
nette's arms. The elder Banning was 
standing over them. Young Ted was 
speaking. "A common thief." he 
said, "I'll phone for the police. Dad." 
But Nanette held him closer. "Dad," 
she cried, "Why, Dad, dont you sec? 
In saving our souls, he has saved his 
own !" 



The elder Banning nodded. 



"I 



think that's true, Ted," he said to 
his son, "I think Nannie is right. . . ." 

Little Madame Jeanne caught her 
husband's hand, "That is right, Ted," 
she said, softly, "ah, dont you feel 
that it is, dear?" 

Javalie had risen to his feet. His 
white face corroborated them all. 
Nanette, sobbing, clung to her father, 
"Dad . . . Dad ..." she cried, "I 
... I love him . . . the real him 
. . . the him that saved us all . . . 
dont you see?" 

Javalie raised her hand, and kist 
it, and was still. They had their 
right to judge him . . . these people 
whom he had saved and would have 
robbed. 

Ted and Jeanne were silent, too. 
The elder Banning took his daugh- 
ter's hand and placed it in Javalie's. 
"I see, Nannie," he said, "I think I 
see. ..." 



(Eighty) 



I reign Films 

I ^ ontinued from page 2 

'Polikuschka" i rom the stor) ol I .eon 
r/olstoi featuring the famous Russian 
artist Moskwin who, I am informed, 
is at present in America. The other 
sts figuring in this photoplay be 
long tn the famous Russian compam 
Stanislavski. 

ITALY 

I have not very much to say about 
Italy as iu> changes of particular in 
teres! have happened there since I 
wrote my last article. If I tell you 
what I have seen during my different 
visits to that country you may judge 
better what the situation is. 

1 it us >tart with Rome, some 
months ago, just when we heard that 
the second industry in Italy was pic- 
ture production. Let us enter a shop 
called "< Md England" and go to the 
top Hour where one can get tea and 
other refreshments. At the time of 
which I am speaking we could find 
mbled at different tables pro- 
ducers, artistes and other cinema fans. 
Let us approach a table, by chance, 
and be indiscreet and hear what is 
said. 

./ producer. — I dont know what to 

do. Miss X (here the name of 

a well-known artiste) has promised 
to appear in one of my pictures and 
when I told her that 1 had reserved 
for her the role of the girl who be- 
comes old she refused to play. And 
yet the role is a first class one. She 
replied: "Well, 1 always want the 
public to see me young and not old." 
And do you know, old chap, con- 
tinued the producer, the oldest part 
she will take in the picture does not 
give her true age. She is to play 

Miss F in my film and appear 

thirty-five and she is now. well, I 
think she must be nearly forty. 

Another producer. — Well you can 
arrange that. Try to make your 
heroine twenty-five instead of thirty- 
five and things will he settled. But 
what about me? My leading lady 
left me and she has formed her own 
company, do you understand? It is 
not a question of age. 

Now. my dear reader, let us leave 
our tea shop as we have heard enough, 
in fact, more than we could learn by 
many visits to the studios and better 
than by interviewing many people. 

GERMANY 
Before the war. Germany had al- 
ready some good stars. Among these 
was Asta Neilsen an artiste who was 
said to be of Danish origin. She ap- 
peared principally in German films 
and made wonderful creations, one of 
her best successes being "The Down- 
fall." What I remember of this film 
which I saw more than ten years ago. 



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is that it was the story of a stage 
actress or dancer. 

Now, I understand that a new film 
has been made which has the same 
name and which tells us the story 
of a young actress whose first hus- 
band has been very cruel to her and 
who falls to such a low state that she, 
who was once a beautiful woman, is 
not even recognized by the man she 
loves after some years during which 
she has been separated from him. I 
do not think this to be the plot of 
"The Downfall" which I saw before 
the war, but it has a certain likeness. 



Hungry Hearts of Hollywood 

(Continued from page 20) 

a sea tramp. But he happened to get 
started on Western stories and made 
such a success that the public will not 
accept him in any other kind of 
stories. So that's that. 

Monte Blue wants to be a director. 
Every time he gets out in front of a 
camera, his heart aches with longing 
to be on the other side of the instru- 
ment telling some inspired actor how 
to do it. 

Helen Ferguson wants to be a short 
story writer with her name adver- 
tised in the magazines. It might be 
that she will fulfil her ambition. 

Marie Mousquini, down at the 
Harold Lloyd studio, has a curious 
jambition. She wants to be a busi- 
ness woman. She never had the 
^.lightest idea of being an actress. She 
got a job in the business department 
of the Roach studios and she was so 
pretty and attractive and general col- 
orful and had so much personality that 
they dragged her away by main force 
and put her in front of a camera. 
She never has gotten over the han- 
kering to be a business young lady 
with a lot of carol index stuff lying 
around — a stenographer — no not a 
stenographer, probably a dictograph 
— at her elbow — sales charts with col- 
ored pins and all such junk. 

Charley Ray wants to be a producer 
of stage plays. His movie career is 
just a stepping stone to Broadway. 
Some day he will be a David Belasco 
with a wistful, sad smile and teaming 
millions trying to get into his theater. 

Jackie Coogan endures fame and 
wealth because he knows that he still 
has time enough before him to gain 
his life's ambition which is to be a 
fireman. Not just an ordinary fire- 
man tho. Jackie aims high. He will 
be satisfied with no other station in 
life except to be the fireman who sits 
up in the poop deck of a hook and 
ladder wagon and steers the machine 
down thru the traffic, making all the 
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STATEMENT OF THE OWNERSHIP, MANAGE- 
MENT, CIRCULATION, ETC.. REQUIRED BY THE 
ACT OF CONGRESS OF AUGUST 24, 1912, of 
CLASSIC pul lislicd MONTHLY at 175 DL'FFIELD 
ST., BROOKLYN, N. Y'.. for APRIL 1st. 1923. State 
of NEW YORK. County of KINGS. Before me, a 
NOTARY PUBLIC in and for the State and County 
aforesaid, personally appeared the PRESIDENT of the 
CLASSIC and that the following is. to the best of his 
knowledge and belief, a true statement of the ownership, 
management (and if a daily paper the circulation), etc.. 
of the aforesaid publication for the date shown in ihe 
above caption, requited by the Act of August 24. 1912, 
embodied in section 443. Postal Laws and Regulations, 
printed on the reverse of this form, to wit: 1. That the 
names and addresses of the publisher, editor, managing 
editor, and business managers are: Publisher, BREW- 
STER PUBLICATIONS, INC.. 175 DL'FFIELD ST., 
BROOKLYN, N. Y. Editor. SUSAN ELIZABETH 
BRADY, 175 DL'FFIELD ST.. BROOKLYN, N. Y'. 
Managing Editor. ADEI.E WIHTELY FLETCHER, 
175 HI FFIEI.D ST.. BROOKLYN. N. Y. Business 
Manager. GUY' L. HARRINGTON, 175 DUFFIELD ST.. 
BROOKLYN, N. Y. 2. That the owners are: (Give 
names and addresses of individual owners, or. if a cor- 
poration, give its name and the names and addresses of 
stockholders owning or holding 1 tier cent or more of 
the total amount of stock) EUGENE V. BREWSTER. 
175 DUFFIELD ST.. BROOKLYN, N. Y. CARLE- 
TON E. BREWSTER. BAYSHORE, LONG ISLAND. 
N. Y. 3. That the known bondholders, mortgagees, and 
other security holders owning or holding 1 per cent or 
more of total amount of bonds, mortgages, or other 
securities are: (If there arc none, so state.) NONE. 
4. That the two paragraphs next above, giving the names 
of the owners, stockholders, and security holders, if 
any, contain not only the list of stockholders and se- 
curity holders as they appear upon the books of the 
company but also, in cases where the stockholder or 
security bolder appears upon the books of the company 
as trustee or in any other fiduciary relation, the name 
of the person or corporation for whom such trustee is 
acting, is given; also that the said two paragraphs 
contain statements embracing affiant's full knowledge 
and belief as to the circumstances and conditions under 
which stockholders and securiey holders who do not 
appear upon the books of the company as trustees, hold 
stock and securities in a capacity other than that of a 
bona fide owner; and this affiant has no reason to 
believe that any other person, association, or corpora- 
tion has any interest direct or indirect in the said stock, 
bonds, or other securities than as so stated by him. 5, 
That the average number of copies of each issue of this 
publication sold or distributed thru the mails or other- 
wise, to paid subscribers during the six months preced- 
ing the date shown above is . . . (This information is 
required from daily publications only.) EL'GENE V. 
BREWSTER, (Signature of editor, publisher, business 
manager or owner.) Sworn to and subscribed before me 
this 2nd day of OCTOBER. 1922. E. M. HEINE- 
MANN. (My commission expires MARCH 30th). 1924. 



(Eighty-two) 





She Found A Pleasant Way To 
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llu- Return 

mtinued from page 

influence, an invaluable mean ■ "i edu- 
cation. In the litiK- t. ii awa) t< 
ii is the one thing tin- people have. 
They keep abreast of the new s. 'I hey 
relieve the terrible monotony ol a 
small town ami no "tic knows what 
that is until they have lived in <>i 
lis -din- to tin- movies. It brings 
romance to lives absolutely lacking in 
that. It affords entertainment to a 
people who would never get it any 
other way. It teaches them history. 
It Familiarizes them with tin- classics 
they would otherwise never have even 
heard <>i . 

"Now 1 know what T am talking 
about," said Mr. Bushman with con- 
viction. "We went thru all these 
little towns on our vaudeville tours. 
We came in contact with all these 
people. They all knew us — from pic- 
tures. It was beautiful to me. 

"Why, these housewives that were 
never out of their own kitchens learn 
to ^rt their tables from the movies. 
They acquire a very workahle set of 
manners. They learn how to dress. 
You know these things are ordered 
better now than they used to he. It 
is safe now for people to copy the 
things they see in the movies, man- 
ners, clothe>. customs, houses, decora- 
tions, and so on. I can only repeat 
that I think that the motion picture 
is the greatest force in the world. 
I believe it has a message to bring 
to all peoples. And I am glad and 
proud to be a part of it." 

Xow we know that most of these 
things have been said before, but we 
have never heard them said with such 
a ring of conviction, sincerity and 
truth. Somehow, when Francis X. 
Bushman told us these things, they 
took on a new vitality. We believed 
them. We suddenly became enthusi- 
astic about our job. We wanted to 
make our magazine bigger and better. 
Yes, we truly did. And we too. were 
glad and proud to be a part of this 
great industry. 

Surely if a man can do that, can 
manage to lift a job out of the hum- 
drum, to make of his own life a 
consecration to an ideal, to imbue 
others with a new purpose, then 
surely there will he a place for him 
once more in the hearts of an adoring 
following. 

The romantic youth has become the 
worth while man . . . but he still has 
that thick mop of leonine hair, that 
wont ever stay slicked down . . . 
the buoyant step of youth . . . the 
eager look of an adventurer in life 
that years can never take away. 

The return promises to be interest- 
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Earle E. Llcderman 
at he Is to-day 

Useless as a 
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The best thing a rabbit can do with liis 
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man of today lias aboni as much ambition 

li he i 
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(Eighty-three ) 




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The Celluloid Critic 

(Continued from page 47) 

RUPERT HUGHES lias taken 
his magazine story, "Souls for 
"Sale" (Goldwyn), and given it a 
screen dressing and we must hand this 
gifted author and director credit for 
fashioning a picture which takes the 
spectator on a fanciful flight thru 
filmland. Mr. Hughes has assembled 
over thirty players, many of whom 
are headliners, and piloted them 
around Hollywood sets. He gives us a 
large close-up of studio activities — of 
the lives of the screen gentry on loca- 
tion. And while he shoots his scenes 
he waxes satirical in his titles. Yet 
beneath the humorous surface is the 
story of the rise to stardom of a girl 
who stumbled upon a company mak- 
ing a "sheik" picture. She had run 
away from a criminal husband. 

Mr. Hughes would have us believe 
that his tale is typical of the manner 
in which a star is made. But the 
atmosphere is the most important fea- 
ture of the play and one is allowed 
to get an eye-ful of the directors, 
Stroheim, Niblo, Neilan and Chaplin. 
Chaplin? Indeed, the King of 
Comedy is caught for a brief moment 
with the megaphone. The climax 
ushers in a thrilling chapter culled 
from the circus formula. 

The story becomes artificial toward 
its conclusion and the cast is too large 
to allow any individual player's study 
to be absorbed by the spectator. Yet 
"Souls for Sale" is interesting be- 
cause of its novelty and the humorous 
twists — to say nothing of the atmos- 
pheric touches. 

WE turn to Pola Negri who 
looks almost like a new dis- 
covery in Paramount's "Bella 
Donna." Having the advantage of 
American methods of screen techni- 
calities, she is able to display a charm 
which was lost in German produc- 
tions. So miich for Yankee lighting 
and photography. The picture em- 
bellishes her emotional gifts so that 
she appears to be a different person- 
ality entirely. Yet it may be that her 
art is so limitless in expression that 
each new picture brings out some 
heretofore hidden appeal. 

It is a sumptuous production — a 
positive revelation from a scenic 
standpoint. George Eitzmaurice has 
achieved the well-nigh impossible 
task of creating a genuinely atmos- 
pheric Egypt, London and Venice — 
so much so, that nothing of the studio 
is stamped upon it. It's a passionate 
tale of an oversexed woman who is 
carried away in the arms of Intrigue, 
Caprice, Adventure and Tragedy. 
The magnetic Pola is superb 
(Continued on page 86) 



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The Celluloid Critic 

(Continued from page 84) 

against such a colorful background — * 
a background which abounds in 
elaborate carnival scenes, desert sand- 
storms and massive reproductions uf 
oriental architecture. A gripping 
document which is dramatically effec- 
tive and optically pleasing and finely 
interpreted by the star and a company 
that has seemingly caught some of her 
verve and vitality. 

RUPERT HUGHES is not the 
only sponsor of screen novelties 
' for the month. He must make 
room for Maurice Tourneur whose 
production, "The Isle of Lost Ships" 
(First National), stimulates the im- 
agination and excites the pulse with 
its fanciful story of adventure, con- 
flict and romance in the Sargasso Sea 
— where all floating wreckage drifts 
to find sanctuary. The corpses of 
these dead vessels lend an uncanny 
atmosphere which is rich in its color- 
ful appeal. Human derelicts find 
refuge among them — the sole sur- 
vivors of ill-fated cruises. 

It is stark melodrama punctuated 
with fanciful adventure and romance 
and the acting contributed by Milton 
Sills, Walter Long and other com- 
petent players is in perfect harmony 
with the vigorous tale. 

IN turning to Jackie Coogan we dis- 
cover him in a trite, hackneyed 
story "Daddy" (First National), 
which is worthy of patronage, how- 
ever, because of the presence of the 
inimitable youngster. Follow little 
John thru his tender moments with an 
aged musician and shed a tear over 
him. There is no backbone to the plot 
and it's unduly artificial featuring as 
it does a mother who leaves her tem- 
peramental husband and takes her 
child with her. Follow Jackie thru his 
efforts to get his grandparents out of 
the poorhouse as he parades the city 
streets begging silver with his elo- 
quent eyes and his violin playing. The 
elderly musician, the tutor of the lad's 
father, dies. Which offers a moment 
of heart interest and pathos. And the 
parent conveniently meets the boy. 
Result, happy days for all concerned 
except the mother who for some rea- 
son or other has passed into the Great 
Beyond. 

With Jackie in nearly every scene 
the opus is saved from traveling the 
quick road to oblivion. We will for- 
get it easily when the circus story, 
"Toby Tyler," comes along. 

STORIES of moonshine, feudists 
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some Pine' i Paramount > does not 

i much entertainment 
l 'ox's tale has been used as a model 
for this type <>i" pictures. So it musl 
be called the grand-daddy of them all. 
Most everyone is familiar with the 
story u liicli it' it hasn't been read, at 
lca-.i has been seen a score of til 

Mary Miles Minter is the little 
mountain wildflower wlio develops a 
romance with the young "furriner." 
And before the youth from the city 
is able to takeheraway from her cabin 
we are given a deal of local color, a 

fair-tO-middlin' climax when 
feudists tote their guns into the town 
and some highly picturesque settings. 
Ernesl Torrence suggests the typical 
mountain moonshiner. He compels 
attention with every expression which 
flits across his face— a graphic study 
of a son of the soil down "thar" in o'F 
Kaintuck." 

Tl I E odds are ten to one that, if 
"Enemies of Women" (Cosmo- 
politan) had been produced on a 
modest scale, it would have been dis- 
missed as stereotyped, dull stuff. But 
the sponsors have loosened the purse 
strings lavishly — so much so that the 
picture becomes one of those million 
dollar productions. And by giving it 
truly sumptuous settings and an au- 
thenticity of background as it per- 
tains to Monte Carlo the artistic side 
of the picture saves it — tbo much of 
its value is found in the more than 
excellent interpretation by Lionel 
Barrymore as a wealthy degenerate 
and Alma Rubens as an adventuress. 

The war comes sparing none but a 
group of wilful men who scoff at 
women. Yet these wealthy bounders 
catch the spirit of sacrifice and dis- 
cover their souls. The story has gaps. 
You will find them when the adven- 
turess pleads for money from the rich 
Russian to send to her boy at the 
front, and when she refuses to tell 
him that she has a son at all — altho 
ber pride is so monumental that she 
would cry ber relationship from the 
housetops. 

There is a thrilling scene when the 
terrorists storm the prince's castle — 
and the war strips are the real stuff. 
The director deserves a compliment 
for trimming his battle scenes and 
handling the exceptionally large cast 
in masterly fashion. It is colorful. 
Make no mistake about it. 

But its highlights are its rich back- 
grounds and Barrymore's portrayal. 

WILLIAM de MILLE gets 
down to human values much 
better than brother Cecil. He 
is not afraid to tackle a character 
study. "Grumpy" (Paramount), and 
mould it into an absorbing little pic- 
( Continued on page 8°) 




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(Eighty-seven) 



Susie had the Courage of a Pioneer 



That is why she dared to leave the harbor of her home in a little Western 
town and come to New York 

And then New York put her courage to the test. 

Hired to Live the Life of Another 

But Susie did not flinch. 

She dared accept an opportunity which would have tried the courage 
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And putting the disillusion and disappointment which had come to her 
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Susie Cast off Her own Identity Like an Old Dress 

And became, for the nonce, the glamorous Magda Basarov, the motion 
picture star 

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Siisie wore the Basarov gowns — emulated the Basarov accent — and 
affected the Basarov mannerisms 



VyiTHOUT a doubt 
Susie Takes a 

Chance is one of the 

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in the Motion Picture 
Magazine. Lucian Cary, 
the popular and well-liked 
magazine writer, is the 
author. 



SUSIE 

TAKES 

A 

CHANCE 



MYSTERY . . . sus- 
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A New Kind of Story by Lucian Cary 

In the July Motion Picture Magazine 



(Eighty-eight) 





THEBATHER 

l\MI 

HKAU 

•I 1 1 I 1 

belp admiring It be- 
iij the beau)} 

loll. till' 

tl 

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In feet all thai 

nuk.- 1I1I1 picture »liai 

I 

A PICTURE 

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Utd ."ir 

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The I .ellulold < Critic 

( c ontimicd from page £ 

ture storj , I i ue he has I heodore 
Roberta who ii the iras< 1 1 » 1 «.- old 
lawyer, gives a powerful ch 
zation one which easily outrank* 
anything he has heretofore con 
tributed. Some might nol favor iliis 
a< tor in the role since it was originally 
created by Cyril Maude. Bui should 
they reason from the standpoint thai 
because Roberts doesn't ln<>k like 
Maude he is incapable of i^i\ ing a coi 
rect rendition? This is a foolish 
argument with nothing to stand 
upon except the original creation 
which paints a pleasant fancy which 
one doesn'l likr to spoil. 
Theodore Roberts in "Grumpy" and 
enjoy character acting at its best. 

THE TIGER'S CLAW" i Para- 
mount i presents us with the old 
moth-eaten story of the disap- 
pointed lover who exiles himself to 

India where he falls in love with a 
half-caste girl — and wonder of won- 
ders, he marries her! Bang j 
the racial hairier, you say? But wait ! 
The white girl comes down from 
England and so they conveniently kill 
off the native. < >h yes it contains 
some thrills. The young engineer is 
rescued by the half-caste from some 
man-eating tigers and out of gratitude 
for saving his life he is tied in the 
hands of holy wedlock. But the 
arrival of the English charmer com- 
pels the author to paint the pretty 
Hindu as faithless to her marriage 
vows. Some of the atmosphere is 
»ood and Aileen Pringle is fetching 
as the half-caste. Jack Holt tries to 
be real. 

HAVE you been watching Buster 
Keaton the past year? Wont 
you agree with us that his 
comedies are vastly more entertaining 
than half the features which come 
under your notice ': I 'ay particular at- 
tention to "The Love Nest" < First 
National) and enjoy a rollicking 
laugh in following Buster's take-off 
of a whaling adventure. He has in- 
jected several new gags and inciden- 
tally, employs the dream situation. 
But it isn't so irritating in this in- 
stance because there is no indication 
that he has been asleep until the 
finish. It's a whale of a comedy. 

SOME marvelous backgrounds of 
Tahiti do much toward compen- 
sating for a highly theatrical 
story of the South Sea formula 
in the Goldwyn expression, "Lost and 
Found." Really it is wild melodrama 
which is so palpably false that the 
good work by House Peters who. as 
a skipper, searching the high seas for 




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bis wife and child, is nearly negative. 
Perhaps die original tale, "Captain 
Blackbird," possessed some virtues. 
But they haven't been transferred to 
the screen version. There is much 
ado over tribal rites and customs and 
these bits are saturated with hokum. 
Pauline Starke and Antonio Moreno 
and George Siegmann struggle brave- 
ly to appear convincing. Miss Starke, 
incidentally, is miscast. 

IT'S difficult to imagine just what 
Mack Sennett was thinking of 
when he wrote "Suzanna" (Allied 
Producers and Distributors) a tale of 
ancient vintage which carries none of 
his customary satire or burlesque. 
He turns to the babies-shifted-in- 
their-cradles-at-birth formula and 
writes it around a Spanish setting 
and places Mabel Normand in the 
role of a lowly peon. And Mabel 
doesn't show any of her flair for 
comedy. We must say that audiences 
will probably be amused with her — 
at least for old time's sake. You know 
the story now. The old servant comes 
forward with a confession which 
gives the girl a chance to receive for- 
giveness from the noble don. The 
latter's rebellious son steals her away 
from a tempestuous toreador. The 
pursuit is on and a fight on the edge 
of the cliff (horses are used) brings 
the fiesta and the happy ending. 

We look for much brighter things 
from the Sennett lot. George Nichols, 
you are wasted here. 



A GARDEN 
By Margaret Mayfield 

I've a garden 

In my heart 

Where flowers grow 

Pale blooms blossomed there 

Until your kisses 

Made red roses live. 

Their perfume you and I 

Alone may breathe 

If your love dies 

There will be 

Only withered flowers there 

Despair in my heart 

Death in the garden ! 



THREE TIMES TEN 
Gamaliel Bradford 

For all her fragile ways and white 

Demeanor like a lily. 
She took a singular delight 

In making men look silly. 

She had a face would fit a nun 

Devoted to the Savior ; 
But she was hardly such a one, 

To judge from her behavior. 

She played the deuce with scores of men ; 

But only to discover 
That she was left at three times ten 

With not a single lover. 




V 

"I AM GLAD ' *' 
TO RECOMMEND \^. 
YOUR WORK TO 
WOMEN WHO NEED MONEY" 

If you are a woman and need more 
money, then you will be interested 
in what we have to offer you. 

Mrs. Fannie Jones, the lady whose 
picture you see above, is very en- 
thusiastic over our money making 
plan for women. She heartily rec- 
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may be in need of an increased 
income. 

Time and time again we have 
proved that it requires no previ- 
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money with us. It is the rule and 
not the exception for a new worker 
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hour from the start. 

YOU CAN MAKE GOOD TOO 

No matter what your position in life 
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■cut here ■ 
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I am interested in having- more money. 
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Name. 

St. and No. 

City : State. 



(Ninety) 



Manufacturers, Distributors 
and Studios of 
Motion Pictures 

Outside New York City 



• i' hi Film Co., 6227 Broadway, 
Chicago, 111. 

State Film Cn , 1 [ollj wood, * 
Bennett, Chesl 3800 Mission Rd., 

Los Angeles, Calif. 

>tudios, Inc., 184S Alessandro St., 
I os Angeh -. i lalif. 

irj Comedies, 6100 Sunset Blvd., 
Hollywood, Calif. 

Ii - Chaplin Studios, 1420 I a 
\\r . Los Vngeli s, ( lalif. 
Christie Film Corp., 6101 Sunset Blvd., 

Hollywood, Calif. 
Commonwealth Pictures Corp., 220 So, 
State St., Chicago, 111. 

in, Jackie, Prod., 5341 Melrose Ave., 
Los \ngeles, Calif. 

Dwan, Mian, Prod., 66-12 Santa Monica 
Blvd.. Hollywood, Calif. 

Famous Players Laskj Stndi>>>, 1520 Vine 
St., Hollywood, Calif. 

Ford, Francis, Prod., 6642 Santa Monica 
Blvd., Hollywood, Calif. 

Fox Studios. 1401 Western Ave. Holly- 
wood, Calif. 

Goldwyn Studios, Culver City, Calif. 

Hart. William S.. Studios. 5544*4 Holly- 
wood Blvd., Hollywood, Calif. 

Ijicc Studios, Culver City, Calif. 

Leah Baird Prod.. Culver City, Calif. 
Lloyd, Harold, Prod., Hal Roach Studios, 

Culver City, Calif. 

MacDonald, Katherine, Prod., 945 Girard 
St.. Los Angeles, Calif. 

Mayer, Louis B., Studios, 3800 Mission 
Rd., Los Angeles, Calif. 

Metro Studios, 1025 Lillian Way, Los An- 
geles, Calif. 

Morosco. Oliver, Prod., 756 So. Broadway, 
Los Angeles, Calif. 

Pacific Studios, San Mateo, Calif. 

Pathe Freres, 1 Congress St., Jersey City, 

X. 1. 

Ray, Charles. Studios, 1425 Fleming St., 

Los Angeles, Calif. 
Roach, Hal E., Studios, Culver City, Calif. 
Rohertson-Cole Studios, 780 Gower St., 

Los Angeles, Calif. 
Roland, Ruth, Prod., Culver City, Calif. 

Sennett, Mack. Studios, 1712 Glendale 

Blvd., Los Angeles, Calif. 
Stahl, John M.. Prod.. 3800 Mission Rd., 

Los Angeles, Calif. 
Stewart, Anita, Prod., 3800 Mission Rd., 

Los Angeles, Calif. 

Talmadgc Prod., 5341 Melrose Ave., Los 

Angeles, Calif. 
Tourneur, Maurice. Prod., Ince Studios, 

Culver City, Calif. 

United Studios. Inc. T.n< Angeles, Calif. 
Universal Studios, Universal City, Calif. 

Vidor, King, Studio. 7200 Santa Monica 

Blvd.. Los Angeles. Calif. 
Vitagraph Studios, 1708 Talmadge St., 

Hollywood, Calif. 

Warner Bros.. Bronson Ave. and Sunset 

Blvd.. Hollvwood. Calif. 
Weber. Lois, Prod., 6411 Hollywood Blvd., 

Hollywood. Calif. 
Wharton, Inc., Ithaca, New York. 




A telephone personality 



In your face to face contacts 
with people, your appearance, your 
bearing and many other things help 
you to make the right impression. 
But in your telephone contacts 
there is only one thing by which 
you can be judged — your speech. 

An effective telephone person- 
ality is to-day a business and social 
asset. Everybody appreciates the 
person who speaks distinctly and 
pleasantly, neither too fast nor too 
slow, with a clear enunciation of 
each word, with lips facing the 
mouthpiece and speaking into it. 
In business, this is the telephone 
personality which induces favorable 
action on the part of the listener. 
To the salesman it may mean the 
difference between an order and 
no order; between an interview 



granted and an interview refused. 

Curiously enough, people who 
are careful to make themselves ef- 
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face to face, often disregard the 
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phone speech. Perhaps they shout, 
perhaps they mumble, perhaps they 
hold the mouthpiece far from their 
lips. And frequently they never 
realize that their carelessness has 
defeated the purpose of their talk. 

The Bell System maintains for 
telephone users the best facilities 
that science, modern equipment, 
skilled operation and careful man- 
agement can bring to telephone 
speech. But these facilities can be 
fully effective only when they are 
properly used. 




" Bell System " 
American'Telephone and Telegraph Company 
And Associated Companies 

One Policy, One System, Universal Service, and all directed 
toward Better Service 



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pson Charles Ray 

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6 MAIDEN LANE- NEW YORK 



(Ninety-one) 




WRITE FOR THE MOVIES 

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A valuable money making- field 

Try it! Mail us an idea, in any form, at once for J 
fret examination and criticism. We give our hon- 
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1S4 Nassau St., New York 
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Address Dept. S5-J 



O.&.flale&CojSi 

21-23 Maiden Lane NewYorlv 



Current Stage Plays 

(Continued from page 6) 

Palace. — Keith vaudeville. The home of 
America's best variety bills and the fore- 
most music hall in the world. Always an 
attractive vaudeville bill. 

Playhouse. — "Up She Goes" is a musical 
version of Frank Craven's "Too Many 
Cooks." The company is headed by 
Donald Brian and Gloria Fay. Fair en- 
tertainment. 

Plymouth. — "The Old Soak," by Don 
Marquis. The hit of the season so far. 
Another "Lightnin'." Beresford in the 
title role is particularly engaging. 

Princess. — "Papa Joe." Mr. Malatesta 
in an amusing character study of Italian 
life. 

Republic. — ■ "Abie's Irish Rose." An 
amusing study in temperaments and the 
reconciliation of the irreconcilable — that is, 
the Irish and the Jews join hands. 

/vV/.rr. — "The Enchanted Cottage." A 
charming dream-type of drama by Sir 
Arthur Wing Pinero. It is an adventure 
into the realm of phantasy that succeeds 
in enchanting every one who sees it. 

Shuhcrt. — "Peer Gynt." Joseph Schild- 
kraut is not yet mature enough to play 
this, he makes Peer a spoiled boy. 

Thirty-ninth Street. — Louise Huff in 
Rachel Crothers's new play, "Mary The 
Third." Miss Crothers reverses the old 
theme whose slogan is, "For the Children's 
Sake." 

Times Square. — "The Fool." Unreal, 
impossible and moral too evident, but extra 
matinees have to be given to take care of 
the crowds — so there must be something. 

Vandcrbilt. — "Elsie." Another • musical 
comedy, with the advantage of having its 
musical score written by Sissle and Blake 
and Carlo and Sanders. 



ON TOUR 

"Anna Christie." Eugene O'Neill at his 
best. Worth seeing. 

"A Bill of Divorcement." A serious 
and well-acted drama. 

"Bombo." Good music and new jokes. 

"Bulldog Drummond." A mystery play 
everyone will like. 

"Dulcy." Demonstrating that beauty 
triumphs over brains. 

"Good Morning, Dearie." Excellent 
musical entertainment. 

"Lawful Larceny." A crook melodrama. 
Fair. 

"Make It Snappy." Eddie Cantor is 
the whole show. 

"Nice People." A comedy of manners. 

"Partners Again." A Potash and Perl- 
mutter comedy. 

"Red Pepper." A typical Mclntyre and 
Heath entertainment. 

"Sally." One of the best musical shows 
ever written. 

"Shore Leave." Frances Starr weeps 
less than usual. 

"Six Cylinder Love." A domestic 
comedy with a moral. 

"The Circle." An excellent comedy 
with an all-star cast. 

"The Gold Diggers." A snappy, color- 
ful comedy. 

"The Hairy Ape." The tragedy of a 
stoker. Excellent. 

"The Merry Widow." A musical 
comedy revival that is making good. 



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AGENTS WANTED 



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Railway Mail Clerks :md other Government 
positions open. Write for Free List. United 
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ing, Detroit, Mien. 

BECOME A LANDSCAPE ARCHITECT! Big 

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MOTION PICTURE BUSINESS 



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Government institutions. Catalo B Atlas 

Moving Picture Co.. 4J6 Morton Rldg., Chicago. 

NEWS CORRESPONDENCE 

EARN $'ir> WEEKLY, spare time, writing for 
newspapers, magazines. Experience unnecessary; 

details tree. Press Syndicate, 560, St. Louis, Mo. 

OLD MONEY WANTED 



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PATENTS 



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PERSONAL 



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PHOTOGRAPHS 



Real Mexican Beauties. Send dollar bill for 
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Photoplays wanted for California producers; 
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SS$ For Photoplay Ideas. Plots accepted any 
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SHORT STORIES 



EARN $25 WEEKLY, spare time, writing for 
newspapers, magazines. Experience unnecessary: 
details free. Press Syndicate. 560 St. Louis. Mo. 

Stories and Photoplay Ideas Wanted by 48 

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THE VIOLET SPEAKS 

Bj Doris Kenvon 

Sister, it is time to wake; 

On the hillside runnels break 

Their long ice-bound sleep, to find, 

At the kiss of Mm and wind, 

Once again the laughter lo>t 

Mid December's blight and frost. 

thy dreaming, sister dear; 
April's tear-washed skies are near, 
And already, all day long, 
Blue-birds lift a venturous song. 
Waken, it is time to 
Where the crocus, thru the snow. 
Pushes its brave head of gold 
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Mists of green with fragrant rain 
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Of fresh fields and leafy dells, 

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Sweet fulfilment everywhere. 



THE CONCERT 

By BuKt.ii ii ii I i nubf.ro Lee 

I will not heed this tin 
Low and vibrant, 
iantly sweet — 
I shall whisper 
A platitude 
To mj companion — 
I shall not listen. 
W'hu is he, 

Tins player with souls, 
That he should have the power 
To make my heart cry 
As if in pain? 
I shall laugh aloud — 
Strike a discordant note, 
In all this sweetness — 
I will not bare my soul 
For everyone to see. 




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SUADOWLAND 



T T contains articles on the stage, music, art and books; reproductions 
■*- in colors of pictures by foremost artists ; humorous cartoons and 
delightful verse, in every issue. A few of the things appearing in 
Shadowland for June are: 

'M.eister Liszt, the Man 

Reminiscences of the great pianist and composer, Franz Liszt, by 
one of his pupils. 

Our Standard Bearers 

Thyra Samter Winslow, the author of Picture Frames, discusses 
the change in standard from our great-grandmother's day to the 
present time. 

On the \v atermelon-seed Circuit 

An amusing account of the motion-picture invasion into China and 
the enthusiasm with which it is received. 

a he American Short Story 

The peculiarities of certain well-known purveyors of short fiction are 
gently satirized by R. le Clerc Phillips, English writer and critic. 



June 



SUADOWLAND 



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Informal SNAPSHOTS of MOVIE STARS 



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Whose Fault Is This— 
Star, Director, or Both? 

HI, ho! What do you mean Mr. 
Star, using a pick and shovel, 
as an oil scout ? In view of the 
fact that oil is found at depths of 
from three to five thousand feet, a 
derrick is used to drill, and it some- 
times takes a year before pay sand is 
hit. This picture was shown in Tulsa, 
Oklahoma, and surrounding towns. 
The laugh is on you. 

^sop, the wise old owl of Greece, 
once said, "Know thyself." Had he 
lived in this movie age, he might have 
changed it to, "Know thy subject, be- 
fore portraying it." 

Who ever saw a fireman coming in 
from a long trip, without a speck of 
smudge on his face, and lily-white 
hands nicely manicured? If Maurice 
Barrymore were alive today, would 
he or any of the old school, do these 
things? Even among our best of this 
decade, Guy Bates Post, or Tyrone 
Power, the smallest detail would be 
correct, because they are not of the 
mushroom variety. I saw, with my 
own face and eyes, a typewriter which 
lias not been used in large offices since 
about 1900, fa blind machine) used 
in a late picture. What office girl or 
boy, would not notice this error? 

I repeat, what d'you mean? If you 
are getting five thousand dollars a 
week, six square meals a day, eight 
days a week, why not take a vacation, 
and find out how things are done in 
real life — not reel life? Barnum once 
said the public loves to be fooled. 
Yes, perhaps, but dont get caught at 
it. For the blue-eyed boy, at a million 
a year, is putting a screen nail in his 
coffin, every time these mistakes are 
made. 

Listen to this, O ye Australian 
Crawlers ! A swimmer was swimming 
the breast stroke, and 1"* caught a 
man swimming the Australian crawl. 
This simply ain't done. 

In a court-room scene, the defend- 
ant is locked in a cage, on the other 
side of room from the attorney, who 
was obliged to cross, every time he 
conversed with his client, and a mur- 
der trial at that. If the writer does 
not understand his subject, the long 
envelope is returned with a "not 
suited to our magazine" inclosed slip, 
a most depressing sight ; but when a 
celebrity makes a picture of a peniten- 
tiary scene, without ever having been 
even in a real honest to goodness jail. 
the dear public pays out their hard- 
earned shekels, to be humbugged. Is 
this fair? 



I ask you, is it? 



Gene. 



(Ninety-four) 



I he Remedy Foi ( Censorship 

mtinued from page 11) 

were i Jeneral Charles II * '>!<■. 
fudge Edward B. ( )'Brien, the I [on- 
orable William 1 1. Carter and Mrs. 
Alfred I I eatherbee. Business men, 
bankers, professional men and worn 
en, labor leaders, ex sen ice nun, 
club women, teachers and clergymen 
all united to help. These united t<> 
make it clear to the voters, men and 
women both, that : 

i ! ) "Censorship means thai one man can 
determine what everyone in Massachusetts 
can see. What man i-> big enough and 
wise enough to have tlh^ power? Are we 
mi weak and pictures so bad that cur right 
oi selection shall be taken from u^? 

i nsorship mean- fewer pictures, 
advanced prices and uninteresting amuse- 
ment. 

(3) "Present laws fully protect the situ- 
ation and prevent the showing of anything 
that is obscene, indecent, immoral or harm- 
ful. 

(4) "Back of it all is the age-old desire 
of a self-selected few to run a community 
and compel all people to do their will. It 
is not the common good that the reformer 
i- concerned about. It is his selfish desire 
to compel everyone to adopt his peculiar 
standard- and ideals. The censor who 
Ueves that adventure, dancing, cards and 
the showing of modern life is wrong, will 
classify them as immoral and forbid their 
showing on the screen. If the D 
narrow and bigoted we will be allowed to 
see nothing, and if he be broad and care- 
less we maj see things which present laws 
make impossible. 

(5) "If we deliver up our right of selec- 
tion we will soon be ruled entirely by 

■ us and deprived of that liberty which 
h is made our country possible. There may 
occasionally be pictures which are open to 
just criticism and which could easily be 
stopped by anyone interested enough to 
bring complaint to the local authorities. 
There is no reason or argument for over- 
turning the right of individual selection 
by the establishment of censorship." 

What was the result of this en- 
lightened appeal to the puhlic intel- 
ligence: It was amazing. According 
to the Boston Transcript, a very con- 
servative hut a very great newspaper : 

"In Massachusetts, for the first time in 
the United States, a proposal to establish 
a State Censorship of Motion Pictures 
came to popular vote and was rejected by 
a threefold majority. Such a defeat of 
one more effort to regulate the pleasures 
of a contented many according to the idea 
of an insistent few speaks for itself. 

The remedy for censorship is now 
entirely clear. Organize to tight. 
Form a club against censorship in 
your own home town. Go to your 
local theater owner and ask his help. 
particularly if you need a meeting 
place. Boost good pictures. Stay 
away from the poor ones. Co-operate 
with your state organization. If you 
haven't one, create one as they did in 
Indiana. There a voluntary state or- 
ganization, in return for the co-opera- 
tion of theater owners, recommends 
good pictures. 



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MODERN METHOD is an easy way to learn to draw 
original pictures. Write today fur full particulars show- 
ing opportunities fot juti. State your age. 

MODERN INSTITUTE OF ART 
Studio 3I0A 7 East 42nd Street, N. Y. C. 



SMALL 
SIZE 



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GUARANTY WATCH CO., De pf. 4 o N . s n s Iw %* 



Iris In 

{Continued from page 48) 

tence may sound a bit profounel at 
first, but not to anyone who lias seen 
"The Glimpses of the Moon." 
Woof ! 

4* 4* 4* 

The so-called tribute to Sarah 
Bernhardt ended with the highly ap- 
propriate "sic transit gloria niundi." 
"Do you .know what that means?'' 
asked the movie-audience mother of 
her movie-audience child: "No," an- 
swered the little one, "what does it 
mean?" "I dunno," said the parent, 
mildly indignant, "it's French. It 
probably means 'orrewar' or 'good- 
bye' or something." 

We'd like to lay down a modest 
waeer on her third choice. 



There is something particularly 
laudable in the basic sentiment of 
"Adam's Rib." By reason of his 
Old World glamor, romance and 
gallantry (undisputed) a handsome, 
exiled, still youthful monarch wins 
the favor of the wife of a hard, two- 
fisted, steely - eyed, cigar - smoking, 
equally young he-business man. And 
while Love is carefully toeing the 
window-sill for a good take-off what 
doth the busy business man ? Gad 
sir, without once removing the cigar 
from his mouth, he buys the king's 
toy kingdom back for him and sends 
him packing. Magnificent, isn't it? 
A true monument to the Successful 
Americans of Today. Youthful 
Wheat Wizard Retains JJ'ife's Af- 
fections For Regal Ransom. 

And let me tell you these, Mister 
Man. If Mahomet and Joshua and 
old King Canute had had a little red- 
blooded, modern American pep and 
go, you wouldn't have seen them 
take back talk from any Law in the 
Universe. No sir !' That mountain 
and sun and ocean would have cut 
out their nonsense and snapped into 
it! 

■£■ •£* >%> 

Well, as Jackie Coogan said to 
Charles Dickens as they were filming 
"Oliver Twist," "God help us, one 
and all !" 



MARY 
By Edgar Daniel Kramer 

When Mary was a little lass, 
She wandered off to school, 

And with her went her little lamb- 
Which was against the rule. 

Now Mary is a lady grown. 
And all the lads are dafif, 

The while they gaze in ecstasy 
At Mary's dainty calf. 



No Papers Tlb^GN 

No References' * 
No Red Tape v 



Just Send 
Your Name 
Well Send 
The Pearls 



" INDESTRUCTIBLE PEARLS 

Genuine French pearls, imported from Paris, are 
now offered to you at importer's discount 
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PAY ONLY $1.00 DOWN 

Send SI. 00 deposit to show good faith, or pay the 
post-man SI. 00 on delivery. We will send the 
pearls the same day your order reaches us. 
If satisfied, pay only SI .00 monthly for ten months. 

DIAMOND CLASP FREE 

Each purchaser of one of these pearl necklaces 
will receive a 14Kt. solid white gold clasp, set 
with a blue-white diamond as a free premium. 
FREE GIFT CASE. The pearls come in a hand- 
some gift case for presentation purposes. 

10 DAYS FREE TRIAL 

If you return the pearls, we will return your de- 
posit. They are natural pearl color, guaranteed 
never to break, crack, peel, or discolor and are not 
harmed by water or cosmetics. Send your name 
now for this pearl necklace. We'll ship at once 

STERLING DIAMOND &. WATCH CO. - 

Importers of Diaiimttdx and Pearls. Est. 1879 
63 PARK ROW, DEPT.9I8 NEW YORK 



YOUR 

EYES 

CAN BE 

BEAUTIFUL 




Miracle of the toilette, as famous beauties call it — 
accentuates the eyebrows and lashes. Gives them a 
lustrous, luxuriant beauty. Remember that beauty 
u , w i thin tne eyes, that they can transform your 
whole face to an appealing lovliness— therefore do not 
neglect your eyes. "MAYBELLINE" darkens and 
L beautifies eyebrows and lashes instant- 
ly, is harmless and greaseless. Will not 
spread or smear. Used by girls and 
women everywhere. Each dainty box 
.contains mirror and brush. Two 
shades: Brown for blondes. Black 
ffor brunettes. 75c AT YOUR DEAL- 
ER'S or direct from us. Accept only 
genuine"MAYBELLINE." You will 
be_ delighted with results. Tear out 
this ad now as a reminder. 

MAYBELLINE CO.. 4750-5 6 Sheridan Road. Chicago. III. 




Are You Reading 

Magazine" 

July Issue on the News-stands 
June 6th 




_olitaire ring 14K 
- golds., guaranteed/ 

UUN I SEND A PENNY! Send only rii 
address and paper strip which fits 
:o end around finger. When ring^ 
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postman. We pay postage 
ckif not delighted 



, CARAT RINGS $2.98. Not one diamond 
nd has the blue, dazzling bnl- 
v . "Luxite Diamonds." They're 
, PERFECT: few diamonds are! Stand 
d and all other tests. Only experts 
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engraved v i ' 




Beautiful full- 

e BAR PIN, set 

with Luxite Diamonds, 

platinoid finish, free with ring. 



GARFIELD IMPORTING^., '•'g&^JRrc&T- 



(Ninety-six) 



The Magic Carpet 

"yOl' could sit on the tabled carpet of Bagdad and view 

the world. In the whisk of an eyelash it would carry 

you any place you wanted to go. All you had to do was wish. 

Advertising is a sort of magic carpet. Read it and in the 
twinkling of an eye you can review the merchandise of the 
world, pictured and displayed for your benefit. 

The advertisements introduce you to the latest styles — the 
newest comforts for the home — the best of the world's inven- 
tions. They tell you how to buy, where to buy and when 
to buy. They keep you posted on things necessary to feed 
and clothe you and your family and make you comfortable 
and happy. 

Read the advertisements as a matter of education. Read 
them to keep abreast of progress. 

Read the advertisements regularly. 



(Ninety-seven) 



Only the finely textured 

fengHshClqy 



I think most motion pic- 
ture actresses agree on one 
point at /east; that clay- 
ing has come to stay and 
that the best c/av by all 
odds is that creamy Eng- 
lish Clay, Terra-derma- 
lax 




Agnes Ayres 



Claying is a regular part 
of my toilette routine. But 
I use nothing but the 
genuine English Clay — 
none of the ordinary mas- 
sage muds for me. Terra- 
derma-lax is superior to 



them all 




Corinne Griffith 



There are clays and 
clays. I have tried them 
all, but have found none 
to compare with the im- 
ported English Clay, 
Terra-derma-lax 

Marie Prevost 




Clay? Of course I do. 
What woman doesnt 
•who wishes to look her 
loveliest at all times? But 
experience has taught me 
to use nothing but the pure 
English Clay, Terra- 
derma-lax I believe it is 
called. I have found it 
vastly superior to all 
others 




Enid Bennett 



EDWARD LANGEB FEINTING CO.. INC., 
JAMAICA, NEW YORK CITY. 



is good enough 
for madame's face 

'By Martha Ryerson 

245 Oxford Street, London, W. I., England 

Every woman who prizes a beautiful 
complexion should clay at least once each 
week, but she should be very, very par- 
ticular in her choice of clays; she should 
use nothing but the silky-textured 
Terra-derma-lax, imported from England. 

This English Clay has skin-vitalizing 
power, a magnetic quality which is 
totally lacking in the domestic massage 
muds now flooding the market. Andit is 
absolutely harmless to the most delicate skin. 

When applied to the face with the fi nger- 
tips, this English Clay dries quickly in 
a firm, tingling mask. Forty minutes 
later it is whisked away with a moist towel 
and the miracle of skin-beauty is complete. 

What happens is really this : the gentle 
magnetic action of Terra-derma-lax 
cleanses the skin perfectly, cleanses it 
in a way that no amount of scrubbing 
with soap and water or cold cream can 
cleanse it, drawing out from each tiny 
pore every dirt-speck, blackhead, per- 
spiration-clot, and impurity that causes 
faulty complexions. 

Get the English Clay habit; actresses, 
society women, everyone who values 
youth and beauty has acquired it. Clay 
with Terra-derma-lax at least once each 
week, twice is not too often, and you can 
have a gloriously young complexion, the 
envy of all your friends. 

For the daily cold cream bath — use Terra-derma 
Creme, the Beauty Twin to Terra-derma-lax — the 
English Cold Cream with an English Clay base. In 
its velvety softness, this cold cream is unequaled by 
any other product on the market. It has the quality 
of imparting to the skin its own exquisite texture. 

For sale by all druggists and department stores. Tcrra- 
derma-lax, $/. Terra-derma Creme in porcelain jugs, $1 

Terra-derma-lax 

c tht'English Beauty Clay 

(Ninety-eight) 



WT-T C ^F 



llll I I I I I I 



! I I 1 I I I ' I > .. I I 11 I I < I I I I t I II I I ft II i II .1 . • 1 I I I . 



You need not be embarrassed! 



When you go to the beach iln-> summer, are 
you u; (, iii^ tn be afraid t<> raise your arm? 
\ u- you going t<> shrink from the scrutinizing 
glance oi your t riends? 



\ \'Ui going !'• permit unsightly hair on 

your face, arms, underarms .m<i limb* 

spoil the freedom which awaits you at the 
beach? 












Stillman's Freckle Cream 

Get some now ! 

Enter the freckle contest this summer! Prizes to 103 
girls who have the greatest number of freckles to lose. 

Start any time. Have your picture taken "with your freckles 
on" before beginning treatments. After the freckles are all gone, 
take another picture. Send both in. Contest closes October 15. To 
the girl who started with the greatest number of freckles will be 
given $25 and her choice of $5 worth of Stillman toilet articles. 

The second prize is $15 and a $5 assortment; third prize is $10 
and the same. In order the next 100 girls will be given their 
choice of $5 worth of Stillman toilet articles. In case of any 
tie, duplicate awards will be given to each tying participant. 

Your picture will not be printed. No winner's name will be 
published without her permission. This contest is not for adver- 
tising— but to interest girls in seeing how gently Stillman's 
Freckle Cream causes freckles to fade away, giving them a 
clear, white skin. Get it at any druggist. Two sizes, 50c and $1. 

Write today for "Beauty Parlor Secrets" and pick out the 
toilet articles you would like. This booklet will give you valu- 
able hints on make-up. With it we will send instructions on 
how to take a "freckle photograph" with your Kodak. 











Mail this today 

The Stillman Co., 3 Rosemary Lane, Aurora, 111. 
Please send me "Beauty Parlor Secrets" and in 
structions on how to have a freckle photo taken. 




A BREWSTER PUBLICATION 




* • 



' ' 



i tie rsesue nome uutnt tor rermanen 
Waving by the New Lanoil Process 



Paper Tubes, Borax, Pastes 

and Lengthy Heating 

All Eliminated 










The girl "After" — hair 
beautifully and perma- 
nently waved. Ready for 
rain or surf. 



THESE warm summer days 
your hair curling problem is 
a pressing one unless you visit a pro- 
fessional Nestle Lanoil Waver, or 
apply the Nestle Home Outfit. 
Imagine the comfort and relief of 
having natural, soft, bright curls 
and waves wherever you go, rain or 
sunshine. Imagine waking up in the 
morning, curls and waves still flow- 
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them to see them become even 
curlier than before. 

If you are struggling with straight 
hair, let Nestle's help you. With a 
world-wide reputation as permanent 
wavers, their two New York estab- 
lishments give over 300 waves a day. 
If you cannot come to Nestle's, you 
can get their Home Outfit for mak- 
ing your straight hair naturally 
curly. The dainty apparatus illus- 
trated on this page gives the straight- 
est hair of child or adult a per- 






From a photograph submitted to us showing the pleasant time these two 
girls are having while permanently waving each other's hair in their home. 



manent curl and wave that will 
withstand shampooing, fog, perspi- 
ration and sea water just like 
naturally curly hair. 

Do not take this marvelous invention on 
our word. We give you free supplies, and 
thirty days to test it on your own hair, and 
we take all responsibility for your success. 

Send a money order, check or bank draft 
for $15 today. Or pay postman when Outfit 
arrives. Then should you decide within 30 
days' test that your curls and waves are not 
as lovely, natural and permanent as you 
expect, return the Outfit, and your entire $15 
will be refunded immediately without deduc- 
tion for postage, free trial supplies or the use 
of the Outfit. 

Over 60,000 Home Outfits have been sent 
to over 60,000 homes since last August with 
this generous guarantee. Wherever they go, 
they are making women, girls and children 
with straight hair happy with natural, per- 
manent and soft waves, curls and ringlets. 
End your straight hair troubles today, by 
sending immediately for this wonderful little 



invention. Remember — the Nestle Lan 
Outfit will last a lifetime, and can be u: 
on as many heads as you desire. 

Write for our free interesting booklet 
on Nestle Waving by the Lanoil Process. 
It will give you further particulars. 

NESTLE LANOIL CO., LTD.,Dept 

Established 1905 
12 and 14 East 49th St., New York C 
Just Off Fifth Avenue 
Fill in, tear off, and mail this coupon today 



NESTLE LANOIL CO.. LTD. 
Dept. M 12 and 14 East 49th St. 
New York City, N. Y. 
1 would like you to send me the Nestle LANOl 
Home Outfit for Permanent Waving. It is distinct 
understood that if, after using the Outfit and the fr 
trial materials, I am not satisfied, I may return tl^i 
Home Outfit any time within 30 days, and receive ba< 
every cent of its cost of $15. 

I enclose $15 in check, money order, or bai 

draft as a deposit. 

I prefer to deposit the $15 with my postmij 

when the Outfit arrives. 

OR. check here if only free book- 

of further particulars is desired. 

Same 

Street 

City State 



□ 




Best Style Book 

Ever Issued -PREE! 

Endorsed by the Worlds Best 
Dressed Woman- Charming" 

IRENE CASTLE! 

DAINTY, fashionable Irene Castle, stage favorite of 
millions and acclaimed "the best dressed woman in 
the world," i9 perfectly enchanted with 
PHILIPSBORN'S Style and Shopping 
Guide for Fall and Winter. She says: 

' '// is the moil wonderful book of fashions I have 

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IRENE CASTLE— the foremost 
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know that all fashions have the en- 
dorsement of the supreme authority 
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Big Cash Savings 
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chopping service is the talk of America. 

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policy and it is lived up to in every sense. We want your good will more than 

we want your money. 100 % satisfaction or no sale — the most liberal guarantee 

in America. 

Send Coupon ora'PostalforTree Catalog! 

PHILIPSBORN'S 

^ound e d 1890 

Department -311- Chicago, Illinois 



PHILIPSBORN'S, Dcpt. 311. Chicago 
Please send FREE copy of PHILIPSBORN 
and Shopping Guide fcr Fall and Winter. 



S Stvle 



Xame 

Town 

Local AUiirc» 



I PLEASE WHITF PLAIN! \ 




(Three) 



Why Mrs Blakely 
-How Do You Do! 



1* 



W 



He had met her only once before. Some one had pre- 
sented him at a reception both had attended. He had 
conversed with her a little, danced with her once. And 
now, two weeks later, he sees her approaching with a 
young lady who he surmises is her daughter. 

"Why, Mrs. Blakely, how do you do!" he exclaims, 

rushing forward impulsively. But Mrs. Blakely, 

customed to the highest degree of courtesy at all times, 
returns his greeting coldly. 

And nodding briefly, she passes on — leaving the young 
man angry with her, but angrier himself for blundering 
at the very moment he wanted most to create a favorable 
impression. 

DO you know what to say to a woman when meeting 
her for the first time after an introduction? Do 
you know what to say to a woman when leaving 
her after an introduction? Would you say "Good- 
bye, I am very glad to have met you?" Or, if she said 
that to you, how would you answer? 

It is just such little unexpected situations like these that 
take us off our guard and expose us to sudden embarrass- 
ments. None of us like to do the wrong thing, the incorrect 
thing. It condemns us as ill-bred. It makes us ill at ease 
when we should be well poised. It makes us 
self-conscious and uncomfortable when we should 
be calm, self-possessed, confident of ourselves. A 

The knowledge of what to do and say on all 
occasions is the greatest personal 
asset any man or woman can 
have. It protects against the r 

humiliation of conspicuous 
blunders. It acts as an armor 
against the rudeness of others. 
It gives an ease of manner, a 
certain calm dignity and self-pos- 
session that people recognize and respect 

Do You Ever Feel That You 
Don't "Belong"? 

Perhaps you have been to a party lately 
or a dinner, or a 



£!*-' 




reception of some 
kind. Were you 
entirely at . ease, 
sure of yourself, 
confident that you 
would not do or 
say anything thai 
others would rec- 
ognize as ill-bred? 

Or, were you 
self-cons cious, 
afraid of doing or 
saying the wrong 
thing, constantly 
on the alert — never 
wholly comfortable 
for a minute? 

Many people feel 
"alone" in a crowd, 
out of place. They 
do not know how 
to make strangers 
like them— how to 
create a good 
first impression. 
When they are in- 
troduced they do 
not know how to 
start conversation 
flowing smoothly 
and naturally. At 
the dinner table 
they feel con- 
strained, embar- 
rassed. Somehow 
they always feel 
that they don't 
"belong." 



Special Bargain! 

The Famous Book of Etiquette 

Nearly Half a Million Sold at $3^2 

NOW4198 

ONLYTl 



At this time of the year there is always a lull 
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Nelson Doubleday, Inc., makes the amazing 
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inal BOOK OF ETIQUETTE at almost half 
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SEND NO MONEY 

No money is necessary. Just clip and mail 
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Surely you are not going to let this offer slip 
by. Clip and mail the coupon NOW while 
you are thinking about it. 

NELSON DOUBLEDAY, Inc. 

Dept. 829 Garden City, N. Y. 



Little Blunders 
That Take Us 
Off Our Guard 

There are so many 
problems of conduct constantly arising. 
How should asparagus be eaten? How 
should the finger-bowl be used, the napkin, 
the fork and knife? Whose name should 
be mentioned first when making an intro- 
duction? How 
should invitations 
be worded? How 
should the home be 
decorated for a wed- 
ding? What clothes 
should be taken on 
a trip to the South? 
In public, at the 
theatre, at the 
dance, on the train 
— wherever we go 
and with whomever 
we happen to be, 
we encounter prob- 
lems that make it 
necessary for us to 
hold ourselves well 
in hand, to be pre- 
pared, to know ex- 
actly what to do 
and say. 



For a Very 
Limited Time 



Let the Book of 

Etiquette Be Your 

Social Guide 

For your own 
happiness, for your 
own peace of mind 
and your own ease, 
it is important that 
you know definite- 
ly the accepted 
rules of conduct 
in all public places. 

It is not expen- 
sive dress that 
counts most in so- 
cial circles — but 



correct manner, 
knowledge of social 
form. Nor is it par- 
ticularly clever 
speech that wins the 
largest audiences. 
If one knows the little secrets of enter- 
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always the right thing at the right time, 
one cannot help being a pleasing and ever- 
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The Book of Etiquette, social secretary 
to thousands of men and women, makes it 
possible for every one to do, say, write and 
wear always that which is absolutely cor- 
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things in the matter of self-cultivation. 

Send No Money 

Take advantage of the important special- 
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this page. Send today for your set of the 
famous Book of Etiquette. These two 
valuable volumes will protect you from em- 
barrassments, give you new ease and poise 
of manner, tell you exactly what to do, say, 
write and wear on every occasion. 

No money is necessary. Just clip and 
mail the coupon. The complete two-vol- 
ume set of the Book of Etiquette will be 
sent to you at once. Give the postman 
only $1.98 (plus few cents postage) on ar- 
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publishing price. If you are not delighted 
with these books you may return them at 
any time within 5 days and your money 
will be refunded at once, without question. 

This coupon is worth money to you. It 
will bring you the famous Book of Eti- 
quette at almost half the regular price. 
Use it — today ! Nelson Doubleday, Inc., 
Dept. 829, Garden City, New York. 

Nelson Doubleday, Inc., Dept. 829. 
Garden City, New York 

T am glad to know of the special low-price 
edition of the Book of Etiquette. You may send 
me these two volumes without any money in 
advance. When they arrive T will give the post- 
man only $1.98 (plus a few cents postage) in 
full payment — instead of the regular price of $3.50. 
I am to have the privilege of returning the Book 
of Etiquette any time within 5 days if I am not 
delighted with it. 



Name . 



Address 

T 1 Check here if you wanl these books with the beau- 
tiful full leather binding, al J2.98, with same return 
privilege. 

(All Orders from Outside the U. S. are Tayable 
Cash with Order.) 



(Four) 




I 



COVER PORTRAIT— NORMA TALMADGE 
Painted bv E. Dahl 



. ( \ara 



Good and Bad Authorship 

Our Portrait Gallery: Pauline Starke, Corinne Griffith, Sigrid Holm- 

quist, M.u\ Beth Milir.nl, Ramon Navarro, Bessie Love 

The Sport of Kings — And Movie Stars ( harles I I 

Moonlight and Sweet Summer Madness, A picture 

How the Motion Picture Has Influenced Young Peru Helen . If>f>lrt<m Read 

Alice Joyce, A new and exclusive portrait 

Foreign Films, European studios at a glance Maurice / 

Bombed Into the Movies, Little Philippe de Lacey was Hurry Carr 

The Woman and the Mask, A portrait study of Priscilla Dean 

Trilby, \ short story made from the photoplay by Dorothy Donne 1 1 

Impressions, More of Louise Fazenda's subtle vignettes 

"The Light Bright Lissom Mae," Mae Murray, of course 

The Genius of Gesture, An inten iew Faith Service 

Hollywood Homes, M rs. Wallace Reid 

Another Mary, Is shadowed in "Rosita" 

The Girl Who Couldn't Stop Crying, Is Renee Adoree Hurry Carr 

Beside the Sea, Come on in, the water's fine 

The Celluloid Critic, Selects "The Spoilers" as the best photoplay of the month Laurence Reid 

The Veil of Happiness, Clemenceau'-s picture 

The Photographer Takes the Stage, The hardy perennials of the season 

Flashes From the Eastern Stars, Of the stage, on the screen Caught by the Editor 

Classic Considers — The great and the near great 

Greed, von Stroheim's first picture for Goldwyn novelized from "McTeague" Patricia Doyle 

Iris In, Pertinent and impertinent screen comment H. " ■ Hanemann 

A Renaissance Romance, Monna Vanna is screened 

The Hollywood Boulevardier Chats Harry (. arr 

The Studio, 1 (rawing of one of the l>iu "Spots" ■.■••• 

Rankest Treason, Verse and pictures Dorothy Rosencrans Brighton 

Two Down and One to Go, A two-fisted picture 

The Movie Encyclopedia By The Answer Man 



II 

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18 
20 
21 

24 
26 
27 

28 
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34 

35 

38 
39 
40 
43 
46 
47 
SO 
52 
53 
57 
58 
60 
63 
64 

70 



Subscription $2.50 per year, in advance, including postage, in the United States, Cuba, Mexico and Phihppu* 

(3.00; Foreign Countries $3.50 per year. Single copies 25 cents postage prepaid. United States Government stamp- accepted. 
Subscribers must notify us at once of any change in address, giving both old ami new address. 

Published Monthly by Brewster Publications, Inc., at I imaica, V Y. 

Entered at the Post Office at Jamaica, N. Y., as second-class matter, under the ad of March 3rd. W9. 

PRINTED IN U. S. A. 

Eugene V. Brewster. President and Editor-in-Chief; Guy L. Harrington. Vice-President and Business Manager; L G. Conlon. Treat 

E. M. Heinemann. Secretary. 

EXECUTIVE and EDITORIAL OFFICES, 175 DUFFIELD ST., BROOKLYN. N. V 

Copyright, 1923, bv Brewster Publications, Inc., in the United States and Great Britain. 

SUSAN ELIZABETH BRADY, Editor 
ADELE WHITELY FLETCHER, Managing Editor 

Harry Carr Western Representative 

A. M. Hopf muller Art Director 

Duncan A. Dobie . . Director of Advertising 



This magazine, published monthly, comes out on the 12th. Its elder sister, the 
1st of every month. SHADOWLAND appears on the 23rd of the month. 



Motion PiCTfRF MagAZINX, comes out on the 
, is on thl 



Announcement for October 

The Camera Man Confesses 

Wouldn't you like to know the odd and interesting little things the camera man has discov- 
ered about all the different stars who have posed for him? Harry Carr has at last persuaded 
one to talk. . . . 

The Powers Behind the Screen 

Is the" title of ;i series of articles by Stanton Leeds on the nun who have made the movies 
what they :ire today. This absorbing and informative series will star! in the October Cl ISSIC. 




(Five I 






.mmm 




If He Had Passed It Up 

He Would Still Be A Laborer At $2 A Day. No 
Money, Nothing Ahead But Hard Work, Longer 
Hours — and Regrets. But He Didn't Pass It Up. 

He decided to learn Mechanical Drawing. He be 
down to wiiil, with the Columbia School of Drafting. 
When lie had a quiet half hour to spend he spent it — 
;is a wise man spends moues to gel nil] returns. 
MADE $275 EXTRA IN 3 DAYS. He recently received 
$275 for one (hawing thai only took- him three days to draw. 
NOW HOW ABOUT YOU? Are you working up hill or 
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pay day. You'll find the answer there. 
MAKE $35 to $100 a WEEK. We will train you I" he 
an expert Draftsman in your spare time at home by 
mail. 'rh< re's lots of mom tor \nu if you net now. 
PROMOTION IS QUICK. We'll qualify yon for a high- 
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touch with openings for Draftsmen in the big machine 
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departments. Men who start as Draftsmen are often ad- 
vanced to Chief Draftsmen. Chief Engineers, Production 
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GET THE RIGHT TRAINING. Mr. Claflin. the founder 
and director, stands personally in back of the Columbia 
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theories — useless and expensive to you. You start on 
actual drawing work tie- daj vou receive your flrsl lesson. 
YOU NEED NO PREVIOUS TRAINING. The course 
is easy to understand and easy to follow. Many stu- 
dents ;,re qualified even before they complete Hie emus. 
SUCCESS CALLS MEN OF ACTION ONLY. If yen 
are a man of action clip the coupon now and show that 
you are a man of actum. Keep right on top of this 
opportunity to make real money. Don't go looking for 
a pair of scissors. Tear the coupon off and mail it right 
now. We have a special offer for those who reply 
promptly. Get started now. 

What We Give You 



PRACTICAL PROB- 
LEMS. Y'ou are carefully 
coached in practical 
Drafting work. 
WE HELP YOU GET A 
JOB. We help you get a 
position as a practical 
Draftsman as soon as ynu 
are qualified. 
PERSONAL INSTRUC- 
TION AND SUPERVI- 
SION THROUGHOUT 
THE COURSE. You re- 
ceive the personal instruc- 
tion and help of Roy C. 
Claflin. president of the 
Columbia School of Draft- 
ing and a practical 
Draftsman of many years' 
experience. 

DRAFTSMAN'S EQUIP- 
MENT. We furnish you 
with a full set of Drawing 
Eciuipmxut and Drafting 



Instruments as shown in 

the picture below when 
you enroll. You keep both 
sets on completing the 

CONSULTATION PRIVI- 
LEGES. You aie free in 
write us at any time for 
atlvice and suggestions re- 
garding your success. 
DIPLOMA. The diploma 
we give you on complet- 
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your proficiency as a 
Draftsman. It is an "en- 
tering wedge" to success. 
FREE SUBSCRIPTION 
TO DRAFTSMAN'S 
PUBLICATION ''THE 
COMPASS." You are 
given free a subscription 
to our helpful, inspiring 
pnblication"The Compass. " 




Given to Students 

U. S. Civil Service Commission Needs DRAFTSMEN 

The following are a few of the many positions open in 
Government Departments from time to time. The salaries 
are starting salaiies. subject to increase. Practically all 
ot them carry a bonus of $1'40 a year additional. 
Architectural Designer, $4,000. 
Chief Draftsman (Aeronautical) Naval Air- 
craft Factory — $15.04 per day. 
Aeronautical Draftsman — Field Service of 
Navy Department — $5.20 per day to $12 
per day. 

FOrC 1 Ttf\f\V Send in tills coupon today. 
I IvEiIL DUVJIV Immediately on receipt of it 
we will send you our book'. 
'limiting Your Success" which tells you all about 
oui new method of teaching Mechanical Drawing and 
gives full details of our special offer to those who reply 
pnimptly. 

THE COLUMBIA SCHOOL OF DRAFTING 

Roy C. Claflin, President 
Dept. 2115. 14th&TSts., N.W. Washington. D. C. 

f--"----FREE BOOK COUPON--------, 

I COLUMBIA SCHOOL OF DRAFTING, 
Dept. 2115. 14th and T Sts.. N. W.. 
Washington. D. C. 

Enter mv name for a free subscription to '"Lhe ' 

' Compass" and also send me without charge yourMl- I 

I luslrated book on Drafting, telling me iiow I can | 

I .'Hie your complete Menu Study Course aud ■ 
• help in securing a position as Draftsman. 

. Name J 

J Address ■ 

! lilv ' 

' Slate Age I 



Current Stage Plays 

{Readers in distant towns will do well In preserve this list for reference when these 
spoken plays appear in their vicinity.) 



Belmont. — "You and I." A Westchester 
society comedy with sparkling repartee- 
cloaking an undercurrent of tragic middle- 
age — H. B. Warner as the husband, who 
has stifled genius ior the sake of a family, 
and Lucile Watson as the wife, who tho 
deluged with love, feels the resentment of 
ln's disappointment. 

Booth. — "The 
Seventh Heaven." 
II a n d m a d e on a 
melodramatic pattern 
i n a M on t mar tr e 
tenement in Paris, 
of an admixture of 
love, regeneration, 
humor and unreality. 
An excellent per- 
formance with Helen 
Menken starring. 

i 'arroll. — "Vani- 
ties of 1923," with 
Peggy Hopkins 
Joyce leading the 
delectable and in- 
numerable vanities. 

( tisiiw. — "Wild- 
flower," with lovely 
Edith Day flashing 
thru an exquisite 
musical score. 

(. entury Roof. — 
Artists and models. 
Review later. 

Cohan. ■ — ■ "Adri- 
enne." One of the numerous musical 
comedies that are keeping the mercury 
from getting up-stage. The chorus is un- 
usually good, the singing happy. Billy 
Van and Richard Carle, the latter of "The 
Spring Chicken" fame, ^akc care of the 
laughs. 

Corf. — "Merton of the Movies." In 
which Glenn Hunter self-visualized as a 
movie hero of the "great open spaces" 
plays havoc with our emotions as an arch 
comedian. The play carries the same 
poignant humor that was rampant in 
Harry Leon Wilson's story of the same 
name. 

Daly's. — "The Newcomers." A revue by 
Will Morrissey and Joe Burroughs. Re- 
view later. 

Elliott. — "Rain." A bitter tragedy by 
Somerset Maugham ; a violent attack on 
the repressions of Puritanism. Jeanne 
Eagels is superb in the leading role. 

Empire. — "Zander the Great." A melo- 
drama with Alice Brady as a hick tender- 
foot, a child as an uplift foil and boot- 
legging ranchmen of the storied-Western 
type to stir up things. Fine acting of an 
improbable story with a laugh in every 
line and moments of tense excitement. 

Gaiety.— "Aren't We All?" Cyril Maude 
in a delightful light comedy that revolves 
around a philandering husband and an in- 
discreet wife. Mr. Maude in a Grumpy- 
ish character sets a rare pace of fun and 
his support keeps it up. 

Garrick. — "The Devil's Disciple." A 
Shaw satire, which as usual shows up the 
under side of militarism and politics. It 
ends ungallantly on a triangle. An ex- 
cellent show with Roland Young as Gen- 
eral Burgoyne alone worth seeing. 

Globe. — "George White's Scandals." A 
de luxe edition of gorgeously gowned 
beauties that make scandals appetizing, in- 
cluding parodies on "Chauve-Souris" and 
the "Moscow Art Theater." 

Harris. — "Icebound." A drama delineat- 
ing the icebound quality of New England 
emotions; well acted. Awarded the 



Classic's List of Stage Plays 
and Revues in New York 
That You Should See 
■> 
"Rain" 
"The Fool" 
"7th Heaven" 
"Merton of the Movies" 
"The Devil's Disciple" 
"George White's Scandals" 



Pulitzer Prize for the best play of Ameri- 
can life for the season 1922-1923. 

Hudson. — "So This Is London." George 

Cohan's English comedy. An exaggerated 

but an amusing study of the English and 

American temperament, in contrast. 

Liberty.— "Little Nellie Kelly." One of 

George Cohan's best 

— a cyclone of dance 

and song. 

Morosco. — "Not 
So Fast." Old style 
Southern gentleman 
stuff with a family 
estate in jeopardy. 
Rather a slow mov- 
ing comedy. 

.1/ u s i c Box. — 
"Music Box Revue." 
Irving Berlin's spec- 
tacular revue with 
no expense spared 
in producing beauti- 
ful effects. Bobby 
Clark is the fun- 
maker. 

New Amsterdam. 
— "Ziegfeld Follies." 
Still so successful 
that a new show 
will not be put on, 
as annually, but only- 
new features added. 
Eddie Cantor, the 
black-face comedian, 
will replace Will Rogers. 

New Winter Garden. — "The Passing 
Show of 1923," with Jobyna Howland, 
Joan Hay, Walter Woolf and George 
Hassell surrounded by a chorus of one 
hundred elaborately accoutered. 

Palace. — Keith vaudeville. Always a 
good bill, and drawing more and more 
•talent from the headliners of the regulars. 
Pr ovine etown. — "Sun Up." A passion- 
ate tragedy of the North Carolina 
mountain folk centering around a fatal 
revenue raid for the father and the World 
War for the son. The Widow Caglc is 
superbly played by Lucile La Verne. 

Republic. — "Abie's Irish Rose." An 
amusing study in temperaments of the 
Irish and Jew in which the irreconcilable 
is reconciled thru that emotion that knows 
no boundary lines. 

Sekvyn. — "Helen of Troy." A musi- 
cal comedy, the book by Kaufman and 
Connolly and the lyrics by Kalmar and 
Ruby. It has a coherent plot and deals 
with the adventures of a girl in a collar 
factory in an up-state city. 

Times Square. — "The Fool." A drama 
about a man who tries to follow the life 
of Christ in modern locale. While you 
are out of the glare of the white lights it 
gets under the skin. 

OX TOUR 

"Blossom Time." A delightful musical 
comedy based on the life of Franz Schu- 
bert. 

"Bombo," extravaganza musical with 
black-face comedy. 

"Caroline," a musical gem. 

"Dew Drop Inn," in which tangoing and 
black-face jigging vie for first place. 
Second company. 

"Irene," with an all-star cast composed 
df the original principals of the company. 
A musical comedy. 

"Lady in Ermine," a musical comedy. 
(Continued on page 96) 



(Six) 



The Most Darintf Booh 
Ever Written! 



Elinor Glyn, famous author of "Three Weeks," has written an 
amazing hook, that should he read hy every man and woman 
— married or single. "The Philosophy of Love" is not a novel 
— it is a penetrating searchlight fearlessly turned on the most 
intimate relations of men and women. Read helow how you can 
get this thrilling hook at our risk without advancing a penny. 



WILL you marry the 
man you love, or will 
you take the one you can 
get? 

If a husband stops loving 
his wife, or becomes infatu- 
ated with another woman, 
who is to blame — the hus- 
band, the wife, or the 
"other woman? " 

Will you win the girl you 
want, or will Fate select 
your Mate? 

Should a bride tell her husband 
what happened at seventeen? 

Will you be able to hold the love 
of the one you cherish — or will your 
marriage end in divorce? 

Do you know how to make people 
like you? 

IF you can answer the above ques- 
tions if you know all there is 
to know about winning a woman's 
heart or holding a man's affections 
—you don't need ''The Philosophy 
of Love." But if you are in doubt — 
if you don't know just how to 
handle your husband, or satisfy 
your wife, or win the devotion of 
the one you care for — then you 
must get this wonderful book. You 
can't afford to take chances with 
your happiness. 




ELINOR GLYN 
The Oracle <>/ Line' 



What Every Man and 
Woman Should Know 



-liow to win the man 

you love, 
—liow to win the girl you 

■rant. 
— liow to hold your hus- 
band's Love. 
—how to make people 

admire you. 
—why men "step out" 

and leave their wives 

alone. 
—why many marriages 

end in despair, 
—how to hold a woman's 

affection. 
—how to keep a. husband 

home nights, 
—why most women don't 

know how tomake love. 
— things that turn men 

against you. 
— how to make marriage 

a perpel ual honey- 
moon. 
—the "danger year'* of 

married life. 



— how to ignite love — 

how to keep it flaming 
— how to rekindle it if 

burnt out. 
— how to cope with the 

"hunting instinct" in 

men. 
— how to attract people 

you like. 
— why some men and 

women are always lov- 
able, regardless of age. 
— how to make love keep 

you young. 
— must all men be either 

"dubs" or devils J 
— how to increase your 

desirability in a man's 

eye. 
— how to tell if someone 

really loves you. 
— things that make a 

woman "cheap" or 

"common." 
— how to make people 

do the things you want 

them to. 



What Do YOU 
| Know About Love? 

DO you know how to win the 
one you love? Do you 
know why husbands, with de- 
voted, virtuous wives, often be- 
come secret slaves to creatures 
of another "world" — and how 
to prevent it? Why do some 
men antagonize women, finding 
themselves beating against a 
stone wall in affairs of love? 
When is it dangerous to disre- 
gard convention? Do you know how to 
curb a headstrong man, or are you the 
victim of men's whims? Do you know how 
to retain a man's affection always? How 
to attract men? Do you know the things 
that most irritate a man? Or disgust a 
woman? Can you tell when a man really 
loves you — or must you take his word for 
it? Do you know what you MUST NOT 
DO unless you want to be a "wall flower" 
or an "old maid"? Do you know the little 
things that make women like you? Why 
do "wonderful lovers" often become 
thoughtless husbands soon after marriage 
— and how can the wife prevent it? Do you 
know how to make marriage a perpetual 
honeymoon? 

In "The Philosophy of Love," Elinor 
Glyn answers these precious questions — 
and countless others. She places a magni- 
fying glass unflinchingly on the most in- 
timate relations of men and. women. No 
detail, no matter how delicate or avoided 
by others, is spared. She warns you gravely, 
she suggests wisely, she explains fully. 

A book of this type, to be of great value, 
could not mince words. But while Madame 
G lyn calls a spade a spade — while she deals 
with strong emotions and passions in her 
frank, fearless manner — she nevertheless 
handles her subject so tenderly and sa- 
credly that the book can safely be read 
by any grown-up man or woman. In fact, 
anyone over eighteen should be compelled 
to read "The Philosophy of Love"; for. 
while ignorance may sometimes be bliss. 
it is folly of the rankest sort to be ignor- 
ant of the problems of love and marriage. 
As one mother wrote us: "I wish I had 
read this book when I was a young girl — 
it would have saved me a lot of misery and 
suffering." 

SEND NO MONEY 

YOU need not advance a single penny 
for "The Philosophy of Love." Simply 
fill out the coupon below — or write a letter 
— and the book will be sent to you on 




approval. When the postman delivers the 
book to your door — when it is actually in 
your hands — pay him only $1.9S, plus a 
few pennies postage, and the book is yours. 
Go over it to your heart's content — read 
it from cover to cover — and if you are not 
more than pleased, simply send the book 
back in good condition within five' days 
and your money will be refunded instantly. 

Over 75,000,000 people have read Elinor 
Glyn's stories or have seen them in the 
movies. Her books sell like magic. "The 
Philosophy of Love" is the supreme culmi- 
nation of her brilliant career. It is destined 
to sell in huge quantities. Everybody will 
talk about it everywhere. So it will be ex- 
ceedingly difficult to keep the book in print. 
It is possible that the present edition may 
be exhausted, and you may be compelled 
to wait for your copy, unless you mail the 
coupon below AT ONCE. We do not say 
this to hurry you — it is the truth. 

Get vour pencil — fill out the coupon 
NOW. Mail it to The Authors' Press, 
Auburn, N. Y., before it is too late. Then 
be prepared for the greatest thrill of vour 
life! 



| Tl 



The Authors' Pran Dept. 1S& \i.i>um. \. ^ . 

i-->r Olyn's • 
ihy ••( I ove." When ii. 
man deli -.>r. I will pay him 

only S1.08, pi It is under- 

lered ■ 
purchase. It' Ok- book does not , 

turn it 
in\* time 

1 Fund my mi t 



i 
1 


1 

' n tiold. with i;- -i.l ToiTaand hhtm 9Uk M-'r* 

place ■ t- ■ ma p*> 1 

-tasr*. 1 1 


1 
1 

1 

1 

1 

L 








MPOR I \n : 

runon. 






■Tfl 




// 



Jn ALLAN DWAN proton 

Jawful Jarceny 

cr-with, JtopcJfampton, SNiin. CNaldi, 
Conrad CNaacI, 6r JJciv Cody 

The lesson of "Lawful Larceny" is a lesson for every married 
couple. 

Hope Hampton is the charming young wife who returns 
from Europe to find her husband, Conrad Nagel, snared by 
another. 

To fly into a temper will avail nothing. To get him back by 
love-inspired guile and diplomacy! that is the way and that is 
the excitement of the photoplay. 

By an unlawful larceny had he 
been taken from her by Nita Naldi, 
....« • dangerous siren and modern Cleo- 

patra — and by "lawful larceny" 
she attempts recovery. 

Does she succeed? 

Don't miss seeing this great pro- 
duction, made by the director ot 
"Robin Hood," the last word in 
marvelous settings, gowns, con- 
summate acting and thrilling plot. 



A Peter B. Kyne 




$5^7SS5gg>foS3ra s7&: :-♦ * 




th 

Annual 



A Nation-wide Celebration 

of Great Artistic Advance 

in Screen Entertainment 

Paramount Week Sept. 2 — 8 

With Paramount Week the greatest motion 
picture season the world ever saw gets well 
under way. 

After years of experimentation the art of 
the screen is coming to perfection. 

The year just past has been one of extra- 
ordinary development. A single incident 
has been the advance showing by Para- 
mount of the greatest photoplay ever made, 
"The Covered Wagon." 

And now in Paramount Week you have 
the opportunity for a grand review of 1923's 
achievements and a pre-view of the great 
Paramount Pictures coming. 

Celebrate Paramount Week at your own 
theatre as millions have during five previous 
annual Paramount Weeks. 

A few of the great Paramount Pictures 
of the Past Season 



'Blood and Sand." A Fred 



RODOLPH VALENTINO in 
Niblo Production. 

JACK HOLT in "While Satan Sleeps. 
Special. 

CECIL B. DeMILLE'S "Manslaughter," with 
Thomas Meighan, Leatrice Joy and Lois Wilson. 

"THE OLD HOMESTEAD," with Theodore 
Roberts. A James Cruze Production. 

A George Fitzmaurice Production, "TO HAVE 
AND TO HOLD," with Betty Compson and Bert 
Lytell. 

A William deMille Production, "CLARENCE," 
with Wallace Reid, Agnes Ayres and May McAvoy. 
THOMAS MEIGHAN in " Back Home and Broke." 
GLORIA SW ANSON in "The Im- 
possible Mrs. Bellew." A Sam Wood 
Production. 

A George Fitzmaurice Production, 
"KICK IN," with Betty Compson 
and Bert Lytell. 



paramount 



(Eight) 



{Paramount 
Week, 



[continued] 

JACK HOLT in Making a Man.' - A Peter B. Kync 
Special. 

CECIL B. DeMILLE'S Production, "Adam's Rib," with 
Milton Sills. Elliott Dexter, Theodore KoslofT, Anna Q, 
NUtaon and Pauline Garon. 

AGNES AYRES in "Racing Hearts," with Theodore 
Roberts and Richard Dix. 

An Allan Dwan Production, THE GLIMPSES OF THE 
MOON." with Bebe Daniels and Nita Naldi. 

POLA NEGRI in A George Fitzmauricc Production. 
"BELLA DONNA." Supported by Conway Tearle, Conrad 
Nagel and Lois Wilson. 

A William drMtllc Production. "GRUMPY." with May 
McAvoy, Theodore Roberts and Conrad Nagel. 

GLORIA SW ANSON in "Prodigal Daughters" A Sam 
Wood Production. 

A George Melford Production, "YOU CANT FOOL 
YOUR WIFE," with Leatrice Joy, Nita Naldi, Lewis Stone 
and Pauline Garon. 

THOMAS MEIGHAN in "The Neer-Do-Wcll " 

A Herbert Brenon Production, "THE RUSTLE OF 
SILK." with Betty Compson and Conway Tearle. 

BEBE DANIELS and Antonio Moreno in "THE EX- 
CITERS." 

AGNES AYRES in "The Heart Raider." 

A William deMillc Production, "ONLY 38," with Lois 
Wilson, May McAvoy, George Fawcett. 

A Herbert Brenon Production, "THE WOMAN WITH 
FOUR FACES," with Betty Compson and Richard Dix. 

"CHILDREN OF JAZZ." with Theodore Kosloff. Ricardo 
Cortez, Robert Cain and Eileen Percy. 

JACK HOLT in "A Gentleman of Leisure." 

DOROTHY DALTON in "The Law of the Lawless." A 

THOMAS MEIGHAN in "Homeward Bound." 

A few of the great Paramount Pictures 
of the New Season 

A James Cruze Production, "HOLLYWOOD," with 22 
real stars and 56 screen celebrities. 

POLA NEGRI in A George Fitzmaurice Production, 
"THE CHEAT," with Jack Holt, supported by Charles 
deRoche. 

GLORIA SW ANSON in A Sam Wood Production,"BLUE- 
BEARD S EIGHTH WIFE." 

"THE PURPLE HIGHWAY," with Madge Kennedy. 

A William dcMille Production, "SPRING MAGIC." 
with Agnes Ayres, Jack Holt, Charles deRoche, Mary 
Astor and Robert Agnew. 

A James Cruze Production, "RUGGLES 
OF RED GAP," with Edward Horton, Ernest •'^ f > 



U\ky 
prt\tm 




Torrence, Lois Wilson, Fritzi Ridgway, 
Charles Ogle and Louise Dresser. 

A Zane Grey Production, " TO THE 
LAST MAN," with Richard Dix and 
Lois Wilson. 

A George Melford Production, "SA- 
LOMY JANE." with Jacqueline Lo- 
gan. George Fawcett, Maurice Flynn. 

GLORIA SWANSON in 
an Allan Dwan Production, 
"Zaza." 

THOMAS MEIGHAN in 
George Ade's "All Must 
Marry." 



K.^2 








Charles Maignc 
production ° 

"7k Silent Partner 

with Leatrice Joy, 

Oivcn Moore & Robert £,dc\on^ 

From [he jior> by Maximilian Foster, Screen pltrj bj S.i..'.i Cuu«n 

What should the wife of a Wall Street gambler 
do who seeks to save him from ruin? 

Paramount answers this question with "The Silent 
Partner," a new and terrifically powerful handling 
of the theme of love versus the fever tor gain. 

In the days of prosperity and golden winnings, the 
beautiful young wife, Leatrice Joy, determines to 
start "gold-digging" from her husband, Owen Moore, 
and build a reserve unknown to him. 

But how to look as though she is spending the 
thousands he gives up, that is the question! 

How to make a $20 gown or a $5 hat or a paste 
necklace look like ten times the value? She does ihis! 

And see what happens when the crash comes! 



£pictur&s 




*' "'^Ntx "7* 






^^fflX^^^:: : s^>>:jr/^/Aw<^:>i*: .^^^:^^^^^&^?r&:^ 



Famous Players -Laskv Corp ] 
adolpm zukor- president 



*vh yo*h Cn 



(Nine) 




ypu too, can ham^ 



"A Skin You Love to Touch" 
by Guy Hoff 




oAre you dissatisfied — 

with your complexion? Do you long 
for a skin so fresh and radiant that no 
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your skin is changing; old skin dies 
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By giving this new s\in the care it 
needs, you can free your complexion 
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You will find the right treatment — 

for your special type of skin in the 
booklet of famous skin treatments, 
"A S\in You Love to Touch," which 



is wrapped around every cake of 
Woodbury's Facial Soap. 

Thousands of girls and women, by 
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flawless skin you have always longed 
for, by giving it this special care. 

Get a cake of Woodbury's today, at 
any drug store or toilet goods counter 
— sec what an improvement even a 
week or ten days of the right treat' 
ment will make in your complexion. 

A 25 cent cake lasts a month or six 
weeks. Woodbury's also comes in 
convenient 3'cake boxes. 



Three Woodbury skin preparations — 
guest size — for 10 cents 

THF ANDREW JERGENS CO.. 

"J09 Spring Grove Avenue, Cincinnati, Ohio. 

For the enclosed 10 cents — Please send me a 
miniature set of the Woodbury skin 
preparations, containing 

A trial si:e cake of Woodbury's Facial Soap 
A sample tube of the new Woodburv's Facial Cream 
A sample box of Woodbury's Facial Powder 
Together with the treatment booklet. "A Skin Yon Love 
to Touch. 1 * 

If you live in Canada, address The Andrew Jergens 
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English agents: H. C. Quelch & Co., 4 Ludgate 
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Name 

Street 

City State 

Cut out this coupon and send it to us today 



ii^J^ 



Copyright, IVSS, 6j/ The Andrew Jrrama Co 

(Ten) 







Decoration thru the courtesy of Agnes Ayrcs 



Good and Bad Authorship 

By CLARA BERANGER 

Editor's Note. — Clara Ber anger is a prominent scenarist. She is re- 
sponsible for "Grumpy," "0)ily 38," and others too numerous to mention. 
We offer these (to us) delightful animadversions without comment. 



AT the recent International Congress on Motion Pic- 
ture Arts, I sat thcu a lot of speeches and dis- 
cussions by members of the Authors' League (of 
which I am one) and Of various other professions; and 
one glaring fact struck me — the almost unanimous pre- 
supposition that all authors of books and plays are good, 
and all authors of screen plays and workers for the screen 
are bad. 

There are plenty of bad pictures, and plenty of adapters 
of novels and plays for the screen who are bad, but there 
are also plenty of good ones. But equally true it is that 
many of the books that are published — most of them in 
fact — are bad. Of the plays that are produced each year, 
possibly five per cent, are good ; and yet these authors — 
and it is usually the bad ones who cry the loudest — pick 
on pictures every chance they get and proclaim how rotten 
and commercial the whole industry is. 

I have yet to hear anyone connected with pictures who 
does not frankly admit that most of them have not yet 
reached a standard that could be called art ; but I have 
yet to hear an author, or a playwright, admit that the 
majority of books and plays are as bad as the majority 
of pictures. If you stop to think of the mass of junk 
published every year, as literature, and the number of 
bad plays produced every year, you will, in all fairness, 
have to draw the same line between good and bad author- 

(Eleven) 



ship in these fields of literary endeavor as you do in the 
field of screen-writing. 

Most of the writers who air their grievances and de- 
clare that the screen is a business — that the producers 
think only of making money — are only too willing to sell 
whatever they can to the picture producers for a flat stun 
of money and make no stipulation about working with 
the adapter and director in translating their work to the 
screen. I happen to know that almo-t every one of the 
picture companies welcomes the cooperation of the author 
in the development of the picture : and it is always 
sible for an author to get a clause in his contract giving 
him the privilege of sitting in on the scenario conferences 
and on the final cutting and editing of the picture. But 
what the author want- is money; Ik- i- not willing I 
give up his time. Dear, artistic creator — he would alwav< 
rather take the money than give any further time to pro- 
tecting those delicate brain children from the cruel hands 
of the picture doctors. It i- so much easier to wait until 
the picture is finished and then ^et up a howl about how 
terrible pictures are — what ignorant, inartistic, commer- 
cial people work in picture- ' 

Talk is cheap — time i- expensive, and so the-e aut 1, 
most of them as mediocre, or more so. than the -creen 
worker-, talk, talk, talk, and take unto themselves their 
i Continued <>»i pa 




Photograph by Edwin Bower Hesser 



Whose odd and elusive charm is being regis- 
tered in Goldwyn's sumptuous picture play, 
"In the Palace of the King." Miss Starke zvas 
selected recently as one of the six most beauti- 
ful screen actresses 



Pauline Starke 




Phctograph by Edwin Bower Hesser 



Corinne Griffith 



Has finished Elinor Glyn's "Six Days," and is back 
in the East — but no one knows yet what good things 
are in store for Iter. Her devoted press men hint 
at a wonderful surprise. . . 




Photograph by Richee 



Sigrid Holmquist 



A young Swedish star of considerable distinction 
in her own country, now proposes to add America 
to her list of cofiqucsts. She has been signed by 
Famous Players to play in "A Gentleman of Lei- 
sure," opposite Jack Holt 



















Photograph by Victor Georg 



Mary Beth Milford 



Who left the Music Box Revue flat for the movies. 

She will flay offostlc John O'Har'a in F. B. O's 

"Fighting Blood'' series 




7 



Photograph by Ira I. Hill 



Is a combination of Richard Barthelmess and 
Rodolph Valentino in appearance. For himself 
there is a pronounced individuality. He is the 
romantic hero of the Sabatini novel, "Scara- 
mouche," soon to be released 



Ramon Navarro 







Photo © by Paul Grenbeaux 



Bessie Love 



This gifted girl has lingered in obscurity too long. 
She was given a chance in a highly emotional 
role in "The Eternal Three" and made a tre- 
mendous impression. She has now one of the 
tragic roles in Mrs. Wallace Reid's picture. 
"Human Wreckage" 





WHEN they finish shooting the scene ( 
and the Kleig lights go out, where do 
the movie stars go ? 
Perhaps they all go out and have a game 
of golf. Golf, tennis, automobile racing, 
airplaning all have had their turn ; but movie 
stars must have new thrills, new experiences. 
What sport in the wide world can fulfil these require- 
ments but the old and romantic sport of kings — that of 
boating. Yes, the movie stars have taken to the water 
— not as ducks, but as yachtsmen. If you dont believe 
it, just take a run down to Wilmington some afternoon — 
it's only forty minutes from Hollywood — and watch the 
ducks, I mean the yachtsmen. 

Who was it that said there were no thrills on the 
water? Seventy miles an hour on the water is the 
fastest speed in the world. It is faster than a hundred and 
fifty miles an hour in an automobile. It is faster than 
two hundred miles an hour in an airplane. Yes, it is 
even faster than seven cocktails and a bevy of dancing 
girls in a gilded cafe. 
There are plenty 



The Sport 

of Kings — and 

Movie Stars 

By 
CHARLES F. BERRY 



Seventy miles an hour on the water is 
the fastest speed in the world. It is 
faster than a hundred and fifty miles an 
hour in an automobile. It is faster 
than two hundred miles an hour in an 
airplane 





Tom Mix, Tony and Thomasina launching Miss 
Mixit, Tom's new high-powered motor cruiser 






Top of the page 
is Cecil de Mille's 
yacht, Seaward, at 
anchor off the 
California Yacht 
Club. Left is 
Dustin Farnum 
at the wheel of 
his speedboat. 
Dustin also sails 
a little starboat 



(Eighteen) 



t 



CI VSSIC 



of thrills, all i ight. It'-- a man 
sized job when your speedboat 
leaves the water and starts to 
leap from wave to wave. You 
come roaring down the course 
with a noise like a battery of 
machine guns, You take a turn 
and your, boal behaves like a 
submarine. Or supposing your 
mechanician fails to see a piece 
of driftwood the size of an old 
soldier's cane. It rips your 
boat open like- a can opener thru 
a can of green peas. < )r if it 
happens to be a submerged rail- 
road tie, you hit with a crash 
like Halley's cornel bumping 
Neptune. You blow up like a 
can of dynamite and then take 
a nose dive to the bottom of the 
sea. Sport ? You bet ! 

Ask Cecil de Mille whether 
there are any thrills. De Mille 
built the Miss Cecilia to raee 
against (iar Wood's world 
champion speedboat Miss 
America. De Mille was driving 
at a comfortable speed, say 
fifty miles an hour, when sud- 
denly there was a flash, a 
rumble, and then a terrific 
blast. In the next instant De 
Mille found himself in the 
water with the flames rising in 
the air a hundred feet from his 
boat. A minute later the boat 
went to the bottom spreading 
the flaming gasoline out on the 
surface of the water. 

Al Fear. De Mille's mecha- 
nician, was rendered uncon- 
scious by the blast and De 
Mille swam to his aid. The 
surface of the water was one 
mass of flames, cutting off all 
help. Finally Xat Walsh's 
boat cut thru the cordon of 
flames rescuing the drowning 
men. And yet they say there 
are no thrills in boating. What 
is a movie thriller to this; ? 

If you've ever sat on the landing of the California 
Yacht Club at twilight and watched the little starboat 
fleet hovering into port like a flight of belated curlew, 
you'd understand another trait in these people from Holly- 
wood. We've heard so much of divorce and the night 
life in Hollywood that — oh well just come clown to Los 
Angeles harbor and find the movie stars drinking in 
God's beauty and playing the sport of kings. 

Perhaps you'll find Dustin Farnum there. Dustin likes 
to sail the little starboats. so small that they remind one 
of the story of three men in a tub. But if you think 
you cant get a thrill out of starboating you're mistaken. 
Falling off horses and leaping across yawning canyons 
dont compare with it. 

Even the Wild West had taken to the sea. Among 
others. Tony, Tom Mix's famous pal, prefers yachting 
to wild west stuff. Of course you've heard how Tony 
helped launch Tom Mix's boat the other day. It was a 
regular wild west launching party (who ever heard of 
a wild west launching party) with tall sombreros, forty- 
four guns, and lariats. Tom threw a rope around the 
new boat and Tony pulled it into the water. Now isn't 




The beautiful schooner, Uncas, of John Bowers, which will compete this 
summer in the great international race from the Santa Barbara Yacht 

Club to Honolulu 



that a helluva — excuse me — a peculiar way to launch a 
boat? 

Of course all the movie stars were there at the 
christening of the Miss Mixit. Miss Thomasina, or Miss 
Mixit a- the family call the little lady of a single year, 
officiated. She pulled the string that broke the bottle that 
christened the boat that Tom built. 

But getting back to boats — Miss Mixit is a boat to be 
proud of. She is a 09- foot cruiser powered with two 
200 horsepower I.M-0 Hall Scott mot >rs. A large cock- 
pit has been constructed aft which Tom will use for a 
gymnasium. Tom >»ys there will he plenty of room for 
a riding arena too. for Tom insists that Tony must he 
included in all arrangements, yachting or otherwise. 

There are thrills to be had in the big boats too. A 
short time ago Cecil de Mille left on a daring trip to 
Infernal Channel and Tiburon Island on his yacht 
Scazcard. The Infernal Channel is one of the most 
dangerous water passages in the world, which makes 
landing on Tiburon Island a hazardous performance. 
The island has been reported by previous explorers to be 
{Continued on page 82) 



' Xineteen) 




Moonlight and Sweet Summer Madness 

This charming scene is from "The Falcon," an episode from the Decameron made 
into a picture by the Lund Productions. The film is in colors, a new and improved 
Prizma process, and is reported to be an artistic triumph. Henry Hull plays the gallant 
young Count Federigo and Irma Harrison plays the lady of his heart, Lady Giovanna 



(Twenty) 




How the 

Motion Picture 

Has Influenced 

Young Peru 

By 

HELEN APPLETON READE 



IT is not the Radio or the Telephone, the Telegraph or 
the aeroplane, which is the greatest internationalizer, 
but the Moving' Picture. 

For all of us, whether we pass our intelligence test at 
the top or at the bottom, visual appeal must always be 
the strongest and the most easily understood. That a 
photograph will give an understanding of a place or per- 
son, which the most accurate description can never 
give, is, of course, a truism. And a photograph 
plus a well-chosen caption is a combination for 
getting information painlessly, and in capsule 
form, that is hard to beat. Hence, the popu- 
larity of the ''Daily News" and like publica- 
tions. 

Therefore, when our financial missions, 
our educational and medical investigators, 
and teachers go to Latin-America to 
bring her up to North American stand- 
ards on the invitation of some of the 
more up-to-date Presidents, let them real- 
ize that a few well-chosen moving pictures, 
typical of the best in North American life, 
will do more to inculcate North American 
ideals than any number of lectures and ar- 
ticles in the newspapers. 

And by this I do not mean educational films. 
Any picture which gives an accurate account of North 



Above (left), Hill women of the Andes who have 
become movie fans. Below, Peruvian Indians stand- 
ing before a motion picture hut looking at the 
posters. They cannot read. Below (left), Hill wom- 
en weighing llama wool which they buy and spin 





American manners and environ- 
ment, especially when it carrie- 
with it an amusing story, and at- 
tractive actors, has great influence. 
In the City of Lima, there are 
more cinemas, as they call them. 
in proportion to the population, 
than in any city of the I'nited 
States There is no other form 
of amusement. Traveling thea- 
trical and operatic troupes are 
rare. The people, especially the 
women, cannot gamble, or drink 
Pisco, the native home-brew, all 
the time, and the national sport 
of bull-fighting has but a *.hort 
season. In consequence a city of 
moving picture fans has developed. 



(Twenty-one) 



CLASSIC 



In one city bluck there will be as many as five 
moving picture houses. The coming attractions 
are advertised weeks ahead. "Gran Estreno" 
they call them, and banners are strung across 
the streets from balcony to balcony telling 
what they are to be. There are generally 
two performances a day, the Vermouth, 
which starts at six-thirty in the after- 
noon and an evening performance 
commencing at nine o'clock. Peruvian 
meals are elastic, dinner comes any 
time between eight and nine o'clock, 
so the Vermouth is the more pop- 
ular performance. 

Strangely enough, it is not ro- 
mances of Spanish sehoritas or tore- 
adors that interest the Peruvian 
movie fan, but stories of North Amer- 
ican life. Mary Pickford, Norma and 
Constance Talmadge, Ruth Roland, and 
Pearl White are among the favorites. They 
have as devoted admirers in a little Indian 
town in the interior of Peru, as they have on 
Broadway. It is safe to say that American films 
always draw the largest audiences, with the possible ex- 
ception of the Caesar films, which star Bertini, the beau- 
tiful Italian Movie actress. 

The reason for this is, that foreign films have for the 
most part very little action. The eternal triangle, the 
plot used most often in French and Italian pictures, pales 
in interest beside the perils that Pearl White escapes or 
the miraculous deeds of Eddie Polo. 

When one realizes the popularity of American films, 
it is hard to understand why so few of the good ones 
come to South America. In the five years that I lived 
in Lima, the only big American film that I saw was 
Farrar in "Joan the Woman." When Mary Pickford, 
William S. Hart, and other favorites come to town, it is 
always in their less important films and these are gen- 
erally four or five years old. 

Constance Talmadge is undoubtedly the most beloved 
of the Peruvians. Her dress, her figure, her mannerisms 
have become the ideal of the Peruvian flapper. 




And here let me cite certain direct and definite changes 
that the American screen has brought about in Peruvian 
life and manners. Changes which cannot be attributed to 
any other source. Until the advent of the ubiquitous 
cinema, Peruvian girls dressed in a South American ver- 
sion of European styles of the nineties. They wore very 
short-vamp high-heeled shoes, had small waists, large 
hips and otherwise overripe curves. Their clothes were 
always too tight, and black was the predominating color. 
The ideal figure resembled that which may be seen in the 
chorus of an American burlesque show. 

The uncorseted straight figure, the bobbed hair and 
flat heels of the American girl were not taken over, altho 
seen often enough in the American fashion magazines 
until their superior charm was proved in the person of a 
film favorite. 

(Continued on page 83) 







w^mmammmm 



Above, "Cholitas" 
near Lima on 
their way to the 
movies. Left, a 
moving picture 
house in Lima, 
Peru, with Pearl 
White billed in 
"The House of 
Hate," and an an- 
nouncement for 
the American Red 
Cross Relief 



(Tiventy-tivo) 



, 




Photograph by Pach Brothers 



ALICE JOYCE 



They cannot stay away, these one-time stars of the silver screen, and now Alice 

Joyce has come back to us, as beautiful — no — more beautiful than ever. She is 

making "The Green Goddess" with George Arliss 



(Twenty-three) 




Foreign 

European Studios 
MAURICE 



FRANCE 

DID you ever hear of a marriage being celebrated 
at midnight? I have assisted at one, but it 
took place on the screen in the new picture pro- 
duced in France by Armand du Plessy and which is 
called "Manage de Minuit" (The Midnight Mar- 
riage). This picture might be a super one, if the pro- 
ducer could make the most of such an interesting 
subject. Of course, the idea is not new, but it is 
presented with a certain amount of originality. 

There are however certain scenes in this photoplay 
which will certainly not be passed by English or 
American censors. I mean some scenes showing the 
hero in his relations with the other sex and a villain 
of a type to be avoided in public spectacles. 

Now this picture of which the cast includes many 
well-known French actors, can be said to be a Belgian 
one as the producer and the heroine (Miss Nelly 
Muriel) are Belgians. But there is a decision of the 
Society of Film Authors of France to the effect that 
a picture is to be considered of French nationality 
if among other reasons, "the producer is or speaks 
French." 

ENGLAND 



"Married Love," the book of Dr. Marie Stopes, 
which has been advertised so extensively in England, 
has been adapted to the screen and produced at the 
British Super Film Studio by G. B. Samuelson. This 
is certainly a fine picture, whose story is a study of 
the happiness and the troubles of married life. 

The troubles are represented by the respectable 

number of ten children, the eldest of whom — our 

heroine — is afraid of marriage when she sees that 

it is so difficult for her poor parents to make both 

ends meet. 

Except for some few scenes, 
this picture is quite an inter- 
esting one and is well acted by 
Sydney Fairbrother. Sam 
Liversay, Rex Davis, and 
Lillian Hall Davis. 

A very interesting English 
film was shown recently which 
represents an original idea. It 
is not a feature film, just an 
educational one. It shows us 
what old London was and 
what it actually is by means 
of old prints introduced skil- 
fully in the picture. This is 
called "The Romance of Lon- 
don" and has been edited by 
The Gaumont Company. 

GERMANY 

Since I started writing this 
series of articles, some changes 
have occurred in the cinema 
industry in Germany. In fact, 
in the studios there, they are 



(Twenty-four) 



Films 

At a Glance 
ROSETT 



not now producing with so much intensity as they 
were before, and 1 understand that the importers 
will have more business in Germany, as they will in- 
troduce more foreign pictures in this territory. 

This state of things is due to the rati- of the mark 
which, by its depreciation, has augmented consider- 
ably the price of the picture productions. < 'f course, 
the German stars do not cease working, but the situa- 
tion is not \ cry brilliant 

t Ksi Oswalda, for instance, quite a good film ac- 
tress, is continuing her scries of pictures and she lias 
already completed many. 

( Issi I 'swalda is one of the best German actn 
and is particularly good for roles in which she has 
to be waggish, malicious and cunning. She is all 
that, at least she seems to be when we see her on the 
screen and she has also a very delightful smile. 

AUSTRIA 

I referred to this c&untry very briefly in my last 
article when citing "Don Juan." I may now give you 
some more particulars about the film activities in 
Austria whose production is often amalgamated with 
the German one. 

There are, amongst others, two big studies in Aus- 
tria, viz : The Sascha Film and the Vita Filmindustri. 

The first produced lately a spectacular film origi- 
nally called "Sodom and Gomorrah" featuring the 
Austrian star, Lucie Doraine, who has a certain popu- 
larity in many European countries. At the moment 
of writing this article, I am informed that this picture 
is now shown in the States under another title. 

Another picture made at the Sascha studios is called 
"Sons of the Revolution." The episodes of the French 
Revolution, most of which more likely occurred in 
the imagination of the writers, 
seem to attract more and more 
the producers of the different 
countries. 

"Sons of the Revolution" is 
an adaptation of the book by 
Frederic Soulie and can be 
said to be the story of a boy 
whose origin is unknown, as 
he was born during the troub- 
led period of the French 
Revolution. 

After many adventures, he 
will find out who his parents 
are and, of course, he has also 
the opportunity of finding a 
charming wife. There are 
some beautiful scenes in this 
rather improbable story and 
the acting is perfect. 

The Vita Filmindustri has 
completed a photoplay called 
"Bobby." 

The hero is a little boy and 
a clever actor too, who decides 
to become a detective one day 
(Continued on page 84) 




Above is a 
Franco- 
Belgian pic- 
ture, "Ma- 
nage de Minu- 
it" (Midnight 
Marriage), 
Nelly Muriel, 
a Belgian cin- 
ema actress, 
is the star. 
Right, "Sons 
of the Revolu- 
tion," another 
Austrian film, 
with Oskar 
B e r e g i and 
Miss Seals- 
f oelo. Below 
is O s s i 
Oswalda, a 
German film 
star in "The 
Girl With the 
Mask" 





{Twenty-five) 




I 



F one of these days, some French 
family should recognize a familiar 
baby face on the screen, there 
would be complications — not to say 
woe, in the house of De Lacey. 
There are queer stories around the 
studios of Hollywood and this is one 
of the queerest. 

It is the story of Philippe de Lacey 
accounted by many, the most beau- 
tiful child that has ever been seen 
on the screen. 

During the World War, an Eng- 
lish woman named De Lacey who 
was living in New York went to the 
battle fields of France with the 
American Women's Overseas Hos- 
pital Contingent. One day she wa's 
called to a little hut near Nancy where a woman 
lay dying of pneumonia. On the bed with her 
was a baby about eighteen months old. 

Miss de Lacey had the woman and the child 
removed to a base hospital where she died. 
Struggling for her last breath, she told as much 
as she could of the baby's history and begged 
Miss de Lacey to see that somewhere he find 
a home. She said that the child's mother was 
only seventeen years old and had been killed a 
few days before by a German bomb that was 
dropped from an aeroplane. The baby's father 
— her son — had been killed with his three broth- 
ers at the 'defense of Verdun. 

Miss de Lacey brought the baby back to New- 
York intending to find a home for him some 
where. She happened to meet an actress who 
knew Geraldine Farrar, and Farrar was at that 
time casting a picture. As soon as Farrar saw 
the little fellow — at that time two and a half — 
his fortune was made. 

He is five now and has become one of the 
sure-of-an-engagement actors of Hollywood. 
Among the pictures in which he has appeared 
{Continued on page 82) 



Bombed Into the 
Movies 

By HARRY CARR 
Photographs by Paul Grenbeaux 



Little Philippe de Lacey, called by many, the most 
beautiful child in the movies, has an interesting 
story. He is one of the many tragic results of the 
Great War. Read how he found his way to the 
silver sheet 







(Twenty-six j 




The Woman and the Mask 

Posed by Priscilla Dean for W. F. Seely, L. A. 



(Txventy-seven) 



Trilby 



Written in short story form by Dorothy Donnell 

Illustrations by John Ellis 




UP the steep 
cobbles of 
the Pas- 
sage des Ab- 
besses hastened 
a young man 
wearing a 
wreath of sau- 
sages festooned 
about his neck 
and carrying in 
one hand a fan- 
tastic nosegay of 
scarlet peppers, 
glossy young 
onions and 
daffodils, and as 
he went he lifted 
up his soul in 
song imploring' 
some lady of the 
name of Chloe 
to go a-maying. 

The stout 
gendarme on the 
corner regarded 
h i m tolerantly. 
Name of a 
name, these 
artists were 
quite mad, but 
what would 
you ? Madness is 
no crime and a 
man was not to 

blame if the good God had made him an Englishman. 
Which, indeed, shows the gendarme to be a man of broad 
mind and liberal views. But the young man now disap- 
pearing under the archway beyond was not aware of 
being pitied, for tho his feet, in undeniably shabby shoes, 
trod the rude pavement, his head, which was that of a 
young Greek god, was in the clouds. Pausing for breath, 
he glanced back thru the arch at Paris, lying below in 
the blue luminous mist, the Seine moving placidly under 
its white bridges between quays where lime trees blos- 
somed and old men in rusty shovel hats browsed among 
the dingy treasures of the book-stalls. And his glance 
was that of an owner regarding his possessions. 

For Paris belonged to Little Billie, Notre Dame was 
his own private treasure, and the big bosomed market 
women wore red shawls solely to please his eyes. 

From somewhere close at hand came the strains of a 
violin bringing him about with a visible start of annoy- 
ance. "He's got the poor little flea at it again," Billie 



Arthur Edmund Carewe in the sinister and immortal role of Svengali 



muttered, eying 
the attic window 
with its torn 
green paper 
shade gloomily, 
"it's a damn 
shame, the old 
slave driver ! 
And I suppose 
as soon as he 
smells these sau- 
sages he'll be 
down, rubbing 
his oily hands, 
loving us like 
brothers ! And 
the worst is he 
isn't a gentleman 
— you could in- 
sult a gentle- 
man !" 

In the dark- 
ness of the hall 
Little Billie 
fumbled for his 
latch key. It 
turned around 
and around use- 
lessly in the 
broken lock but 
he went re- 
ligiously thru 
the ceremony of 
a householder 
before opening 
the door with a well directed kick. And so surely did 
he know what would be the scene within that he saw it 
before the door was opened. 

The studio which had once been the untidiest in the Latin 
Quarter was now so clean that Taffy wailed he was not 
allowed to get paint onto his palette any longer since 
the reign of Madame Petticoat. He was — Billie knew — 
daubing cheerfully away at his big splashy canvas now, 
stopping to pull the tail of the cat, to cheep at the canary, 
and to roar with big honest laughter over what Trilby 
was saying in her clear, joyous voice. The Laird, being 
Scotch and remembering that models cost money, would 
be working industriously, wiping his brushes on his curly 
beard which was always gay with ultramarine and scarlet 
lake, despite the agonized cries from the model throne 

each time this occurred. And Trilby 

In the darkness Little Billie smiled tenderly, visioning 
Trilby sitting majestically with the white stuff of her 
classic robe molding the sweet curves of her, one bare 



(Twenty-eight) 



* 



CLASSIC 




Trilby, played by An- 
dree Lafayette, glad- 
dens the sometime sor- 
rowful heart of the 
Latin Quarter with the 
eternal gift of herself 



pei fed foot resting 
on a footstool. His 

lu-ait lifted under the 

shabby velveteen 
jacket ; he thought it 
was because be was 

an artist looking OH 

beauty, not guessing 
it was because he was 

a boy. looking on a 

girl. 

' ' a n d just 

think, I always bated 

artists when I was 

working in the blan- 

chisserie because their 

shirts were so hard to 

wash !" Trilby was 

saying as he went in, 

''paint streaks and 

smooches, and some 

of them drew sketches 

on their cuffs, and I 

know that you. Taffy . 

were the one who 

used the tails of his 

shirt for turpentine 

rags !" She clapped 

her hands like a child at the bouquet which Little Billie 

presented courtierwise on his knee and with a glance at 

the clock was down from the model stand and, gingham 

apron over the classic robe, was making salad, chattering 

gaily all the while, "Ah. mon Dieu, but I am — how do 

you say? — hongeree ! Taffy, you shall stir the dressing — 

not so hard, Great Stupid ! Oil must be coaxed, like a 

woman, and the Laird shall cook the little pigs to a divine 

brownness. What a feast we shall have — Oh, tra-la-la-la !" 




Trilby's lips were the deeply curved lips of Sappho, 
shaped to utter music by the Lesbian Sea on some night 
of stars — the simile is Little Billie's — but when she opened 
them to sing, strange sounds come forth, a bell-toned 
monotone that always sent them into gales of merriment. 
No matter what she elected to sing, a strain from opera, 
a chanson of the boulevards, it was all the same, tuneless, 
discordant. It was not that >he had no voice, for she 
had a great deal, but that she was absolutely tone deaf. 

In the midst of their laughter, while 
the sausages were sputtering fragrantly 
over the gas-jet and Little Billie was 
setting out the bottles of rough red wine 
and the long crusty loaves, the door be- 
gan to slide open and a dirty band with 
long black-rimmed fingers appeared, fol- 
lowed by a pointed oily beard of glittering 
blackness topped with a nose like a bird's 
beak. The possessor of these endearing at- 
tributes wore a frock coat so shiny that 
the Laird arranged his tie before it osten- 
tatiously as in a mirror. His beard im- 
perfectly concealed a deficiency of linen 
and his complexion was so dingy that it 
was lucky, as Taffy whispered to Little 
Billie, that most of his face was whisker-, 
but it was his eyes which caught the 
glance. They were strange eyes, send- 
ing uneasy sensations slipping down the 
spine. Seeing them fixed unwinkingly 
now on Trilby, Billie's hands clenched, 
throttling the loaf of bread he held. 
"A thousand pardons!" writhed the 



Svengali's method of teaching the tone-deaf 
Trilby to sing, terrifies Gecko, her self- 
sacrificing and humble admirer 



(Tw*nty-nine) 



CLASSIC 







Taffy and the 
Laird and 
Little Billie, 
Trilby's de- 
voted follow- 
ers, watch 
with consider- 
able anxiety 
the mending 
of Little 
Billie's sock. 
Trilby darns 
between poses 



newcomer, "I did not dream that I would find you at 
luncheon !" and he looked wistfully at the brown sausages 
with their succulent pink insides. 

"It was no doubt the music attracted you, eh Svengali ?" 
the Laird drawled, ironically waving a hand toward 
Trilby, "but coom in and sit ye down," he raised his voice 
to a roar, "and the little fiddler too that I can hear sniffing 
in the hall, only no mair hocus pocus, mind!" 

Gecko, pupil and shadow of his extraordinary master, 
slid in, a rabbity youth with a tremulous Adam's apple 
which he was forever trying t0 swallow. At the Laird's 
last words his pale eyes sought Trilby anxiously, and 
under cover of the noise 
and merriment he presently 
crept to her side. "You do 
not eat," he whispered, 
"you are the color of your 
robe. Oh, why did you let 
him try his power on you 
last week? Do you not 
understand when once he 
has looked deep into your 
eyes and touched your 
forehead with his finger 
tips he is your master for- 
evermore ?" He twisted 
his bony hands together, "I 
ought to know ! See he is 
looking at us now, he 
knows we are speaking of 
him. He knows every- 
thing ! It is only when I 
play that I can escape 
him " 



As tho summoned invisibly, he rose and crept back to 
Svengali's side, but the music-master, rapturously greasy, 
continued to cram bits of sausage into his mouth and 
dip onions into the salt without noticing him. At last 
with a sigh of satiety he wiped his hands upon his beard, 
burnishing it to greater effulgence. "Hocus pocus you 
call it," he smiled, yellow toothed, "yet with hypnotism 
one might do much good " 

"What good can it do to make someone believe a pack 
of lies?" Taffy growled. "Of course, the Laird here 
could use it on customers so that they'd see his daubs as 
pictures, and Trilby could use it on an audience and 

go in for concert sing- 
" he broke off at a 



TRILBY 

Fictionized by permission from the First National 
release of the screen adaptation of Du Maurier's 
famous novel. A Richard Watson Tully produc- 
tion, directed by James Young. The cast: 

Trilby Andree Lafayette 

Svengali Arthur Edmund Carewe 

The Laird Wilfred Lucas 

Zouzou Maurice Cannon 

Durien ". Gordon Mullen 

Mme. Vinard : Martha Franklin 

Rev. Bagot Gilbert Clayton 

Impresario Edward Kimball 

Little Billie Creighton Hale 

Taffy Philo McCullough 

Gecko Francis McDonald 

Dodor Max Constant 

Miss Bagot Gertrude Olmstead 

Mrs. Bagot Evelyn Sherman 

Laundress Rose Dione 

Jeannot Robert De Vilbiss 



ing— 

strange sound from Little 
Billie. Hands clenched into 
fists, the boy was staring 
from Svengali to Trilby 
whose face had grown rigid 
and masklike under the 
Italian's glittering regard. 

"Damn you, take your 
eyes off her!" Little Billie 
choked and would have 
hurled himself on the 
musician but for Taffy's 
great paw. Svengali's mas- 
terfulness vanished. The 
doglike Gecko at his heels 
hurried out, frock coat tails 
abjectly flapping, while 
Little Billie writhed im- 
potently in the big Briton's 
grasp, crying shrilly, "let 



(Thirty) 



t 



( i vssic 



Didn'i you .*< i the wa> he wu looking at hei ai 
tlu> a> tho she hadn't anything on '" 

Trilb) gave ;i deep sigh, like one waking from sleep 
Tin- color returned to her face and she flung herself 
hing unto the- model stand apparently unaware ol 
what had occurred, but Little Billie's hands, touching the 
claj with which he was modeling a winged foot, shook 
rod lath nudged the Laird frowning. Later they dis 
cussed it over glasses of absinthe at the Dead Rat, 

"The boy's falling in love with her," Taflry's rumble 
was anxious, "what would his Lady mother and his 
Reverend uncle say if he brought a little Montmartre 
model to The i >aks? Cant you hear his ancestors turning 
in their respectable graves, man?" 

"He must be daft," the Laird tugged his heard fretfully, 

"not that there's anything wrong with Trilby hut cant 
he st€ she isn't the kind an English gentleman marries?" 

"He sees she is beautiful," Taffy said gently, "he hangs 
her about with all the virtues and puts stars in her hair 
and says his prayers to her as we all of US — God pity us 

do to some woman when we are young." 

The Laird's eyes grew wistful with memories, "Aye — 
there was a spring in Dungerry and a milkmaid. But alter 
I saw her eat one day I dinna loe her any mair. Perhaps 
the lad's eyes will be opened. But Trilby is a nice little 
thing. I dinna hold with Little Billie's wanting to marry 
her, but if he didna want to marry her I would spank 
him with my own hand !" 

They did not guess that even then IJttle Billie's eyes 
were opened and he was looking out upon a different 
world in which the gargoyles of Notre Dame leaned over 
their parapets to grimace at his misery and the roseate 
mists over the boulevard were suddenly rain, and all the 
lovely laughing city was a hideous painted hag with mud 
drabbled skirts and the smirk of a skull. 

For hours the boy tramped the streets. The shadow of 



those bittei hours was upon him when he pushed • 

the door oi tin- itudlO and faced his friend*. "I'm going," 

he said hoarsely, and began to jerk things blindh into his 
bag, slides, shuts, paint brushes while the\ watched, open 
mouthed. Then his glance fell on the little white 

that was Trilby's and lie Struck it Savagely, and a 

wards gathered up the pieces with his eyes brimming 
with bus- tears " this afternoon, at the lil 

stammered, "I saw her she was posing before them all 

— naked — I wanted to kill ever) one of them but I 

kill — all Paris and s () [', n going " 

The Laird fled cravenly from the task of telling Trilby 

that Little Billie had run away and so it fell upon 1 

to explain in clumsy words and stumbling phrases the 

reason of his going. 

"But I di not understand," Trilby cried bewilderedly , 
"all models pose in the altogether. Surely it is no sin to 
be looked at unless one is Ugly, and 1 am very prett) with 
mj clothes off, not only my foot but all over." 

It was no Use. The mind of a daughter of Montmartre 
could not comprehend the unreasonable viewpoint of an 
artist who admired beautiful things and yet would not 
have people look on beauty, but Trilby did most of her 
thinking with her heart and that told her what she must 
do to win Little Billie back. "So I return to the blan- 
chisserie," she told them wistfully, standing before them. 
a Milo in black sateen blouse and broken shoes, "I wash 
the artist's shirts, I take off the skin from my fingers and 
1 watch the feet of those who pass by our basement, for 
surely he will come back now." 

The lime blossoms fell, the old men on the quays turned 
over another dingy page, and a good deal of water pas 
thru the taps in Trilby's laundry, and suddenly Little 
Billie was back from England. "I love her." he told 
Taffy and the Laird, as tho expecting their surprise at 
his amazing discovery, "I love her because she's what she 



The cruel and rapacious Svengali decides to make a fortune out of the poor little 
laundress. He bids her follow him 




(Thirty-one) 



CLASSIC 



is — if she was any different she wouldn't be Trilby. It's 
queer, as soon as people love someone they always set to 
work trying to change them over. That's what I told 
mother " 

Taffy had a vision of the haughty Lady Eleanor with her 
high-roofed ancestral nose and basilisk eye. "You — told 
your mother you loved Trilby?" he asked, almost in awe. 

"I told her I was going to marry her," Little Billie said 
a trifle grimly. After all, he was related to the high-roofed 
ancestral nose. 

And now the gendarme, leaning against the white- 
washed wall of the Passage des Abbesses, saw the in- 
gredients of other merry little feasts carried thru the dark 
old archway, and heard queer, untuneful singing, peals 
of laughter and gay voices from the studio, and some- 
times Trilby and Little Billie passed him hand in hand 
on the way to sit in a top heaven seat at the opera with a 
look on their faces that even a gendarme could under- 
stand. Allorus! What a thing to be young and in love. . . . 

The gendarme 
did not like the 
English lady and 
the gentleman in 
the shovel hat 
who stopped to 
ask him the wav 
to Little Billie's 
studio one eve- 
ning — ma foi, but 
Madame looked 
as tho she were 
smelling some- 
thing unpleasant 
with that nose of 
hers. And the 
fussy little man 
with her a d - 
dressed him as 
"Jen Dam" and 
seemed to think 
that the strange 
noises he was 
making were 
French. 

"It is the girl 
we must talk to," 
the lady said as 
they moved 
away, "William 
must not guess 
we are here " 

The clocks be- 
low boomed mid- 
night, from the 
top of the Eiffel 
Tower a red eye 
winked and the 
busses roared by 
in the Boulevard 
below, bringing 
loads of tourists 
to the B a 1 
Tabarin, hopeful 
of looking upon 
some evil. Then 
the gendarme say the couple returning, and with them 
came the girl of the gay laughter, but now she was not 
laughing and the bunch of roses was blighted with tears. 

"I knew that we could make you see it was quite im- 
possible," the lady with the nose was saying — what a 
horrible language, that English ! A language to say harsh 
things in, to scold with, but never, never to make love in 
— "and you. promise not to see him again?" 




rhe moment of Trilby's greatest triumph was the moment that 
preceded her collapse. Svengali had won — and lost 



The light from a lantern swinging in the wind fell 
across the girl's face giving it — the gendarme thought — 
the look of one of the marble saints in the Sacre Cceur. 
A strange place for saints, Montmartre ! "I promise," 
Trilby said, taking the words one by one from her heart, 

"I promise — never to see — him again " 

It is no doubt the human life they have looked down 
upon so long that is responsible for the expressions on 
the faces of the gargoyles of Notre Dame. From their 
high perch above the city, man must seem an amusing and 
pitiful and altogether futile sort of insect rushing madly 
about and imagining his insect sorrows and desires are 
important. Little Billie told himself this and many other 
scornful bitter things in the weeks that followed when he 
wandered about Paris searching for a lost dark head in a 
world full of women whom he hated because they were 
not Trilby. He sought her in the parks, in the cafes 
and theaters, he hunted for her among the laundries and 
the shops and all the studios of the Quarter. There were 

many women. 
slim hipped, lur- 
ing eyed, women 
with little white 
hands and pretty 
lips like painted 
flowers, scarlet- 
haired hussies .of 
the varieties, 
languid models, 
pert shop girls 
with impossible 
coiffures, de- 
mi - mondaines, 
apache girl, midi- 
nettes. but Trilby 
had vanished 
without a trace. 
She had always 
been secretive 
about her home 
life : someone said 
there had been a 
small brother 
whom she had 
cared for, some- 
one else said he 
had died. . . . 

"I'm getting 
stale," Taffy 
growled, care- 
fully avoiding 
Little Billie's 
haggard look, 
"I've painted 
sidewalk cafes 
and flower ven- 
dors and children 
rolling hoops in 
the T u i 1 e r i e s 
Gardens until my 
brushes are all 
gummed up with 
sweetness. Let's 
go traveling and 
paint pictures 
with tobacco and gin and blood in 'em." 

As a cure for love-sickness, Australia may be recom- 
mended. Of course there were scars left in Little Billie's 
heart, and sometimes when the velvety dark was disturbed 
by a woman's voice crooning unevenly across the veldt, 
or when the Southern Cross was a blue blaze on the 
horizon, the scars throbbed a little, and Billie would say, 
(Continued on page 80) 



(Thirty-two) 




xraph 



Impressions 



By 



LOUISE FAZENDA 




These two pictures and the "Impressions" below attest the extraordinary 
versatility of the gifted Miss Fazenda, who is better known as a comedienne 



BARBARA LA MARR 



The flame of a black candle. 

Chinchilla. 

Unknown ladies at tombs. 

Orchids. 



CLAIRE WINDSOR 



Blue corn-flowers in a wheatfield. 

Rhinestones. 

A crystal vase. 

A swan on a clear lake. 



ENID BENNETT 



Priscilla, playing with dolls. 

Rainbows. 

A tremulous child. 

Titania. 



CULLEN LANDIS 



Civil War daguerreotypes. 

Agate. 

A boy sobbing in an empty church. 

Rosemary for remembrance. 



FLORENCE VIDOR 



Apple blossoms in the breeze. 
Rose-point lace. 
Breath of jasmine. 
Reeds, and a quiet pool. 



MARY CARR 



A lamp in a window, 
Old bibles. 
Paisley. 

Frost on pink r 



BABY PEGGY 



A robin. 
Kewpies. 
Soap-bubbles. 
Buttercups. 



LON CHANEY 



A shadow without a presence. 

Dwarf pines. 

A scream in the dark. 

Fog. 

The San Francisco water-front. 



ANNA Q. NILSSON 



A woman in sable with wolfhound-. 
Sunlight on frozen green water. 
A jewel-handled whip. 
Boadicea. Queen of Britain. 



WANDA HAWLEY 



Peach melbas. 

Sorority dances. 

Light blue ruffled parasol.-. 

Daisy chains at Yassar. 



(Thirty-three) 




"The Light, Bright, Lissom Mae 

Mae Murray poses for Edwin Bower Hesser 



(Thirty-four) 



. 



The Genius 
of Gesture 

•An Observation 

by 
FAITH SERVICE 



Y( >l' dont quite know whether 
he is true or not ... or 
whether you might not, per- 
haps, have made him up, invented 
him in a moment of mad imagery, 
read about him, caught him in a 
chord, immediately lost. . . . 

A face pale and perfect ... a 
Burgandy colored dressing-gown 
. . . black hair . . . significant 
hands ... a Byronic collar ... a 
strong resemblance to the pictures 
of the poet Byron . . . this is 
Joseph Schildkraut. 

A room lined on all four walls, 
from floor to ceiling with books, 
chosen books, loved books and read, 
books that hold you, each by a voice 
of its own, this is his background. 

He is a romantic recluse. He 
walks abroad as the Chevalier in 
"Orphans of the Storm," as Lil- 
iom on the stage and as Peer 
Gynt, but Joseph Schildkraut re- 
mains within the four book-lined ^ 
walls, withdrawn. 

He is a genius of gesture. 

Ever since he was ten years 
old and read the Decameron and 





Photographs by Nickolas Muray 

Joseph Schildkraut has given us the Chevalier in 
"Orphans of the Storm" on the screen, and the 
deathless Liliom on the stage. He has now 
been signed for the Goldwyn picture, "The Master 
of Man," from Hall Caine's famous story 



studied the violin while he dreamed of being an actor, 
up to the present day when he is twenty-seven and read- 
ing Poe, living his secluded life, young Schildkraut is 
a genius of gesture. 

As to his sincerity, that is a matter of opinion. One 
may gesture sincerely. . . . 

Have you ever read books of a haunting strangem 
Seen plays wherein the human and the superhuman, the 
mystic and the matter-of-fact mingled and were lo>-t ? 
Caught and then lost again strains of music that repelled 
the Everyday with fantastic fingertips?- Products of 
perversity neither beautiful nor bad? 

And then have you ever thought, "But people are not 
like this. The world is not like this. Life is not like 
this. I have strayed into a nether place." 

But Joseph Schildkraut is "like thi>." This is the 
mood he evokes for you. This is the atmosphere he 
gives to you. 

If Baudelaire had flung back his head and shattered 
his malodorous verses with shouts of Homeric laughter. 
If Poe had played ball with a child and written a 
(Continued on path- 77 



'Thirty- five) 





Hollywood Homes 




No. XI 



Above is the exteri- 
or of Wallace Reid's 
home. The architect 
was Frank Meline. 
It was decorated by 
Gomes and Glendale 
of California. Here 
it was that Wallie 
played the genial 
host to his so many 
friends . . . open 
house for all good 
fellows. . . . 







Left is Mrs. Wallace 
Reid with her son 
and the little girl 
she adopted just 
before her husband 
died. Here too, she 
"carries on" with a 
brave heart and fine 
courage, a gallant 
crusader against the 
evil thing that cost 
Wallace Reid his life 






(Thirty-six j 



Right is a corner 
of the lawn with 
its familiar swim- 
ming pool 




Below is the 
music -room with 
its mute testi- 
mony to a for- 
mer gaiety 




Exclusive 

views 

of the home 

of the late 
Wallace Reid 




- 



Above i s 
the e x - 

tremely in- 
ter esting 
s t a i r way 
with its 
classic 
severity and 
c h arming 
pla stered 
walls 




Left is the 
dining- 
room in 
smooth 
brown oak 
and tinted 
walls. Note 
the graceful 
lighting 



(Thirty-seven) 




Another 
Mary 



Mary Pickford piles her golden glory 
on top of her head and essays the role 
of an alluring and passionately emo- 
tional woman 



These are scenes from 
"Rosita," soon — but not 
soon enough — to be re- 
leased. It is based on the 
picturesque adventures of 
"Don Caesar de Bazan." 
The great German direc- 
tor, Lubitsch, is control- 
ling the destinies of this 
picture. We hope you will 
like Mary in this new kind 
of role. After all, she is 
a woman, a gorgeous, 
glorious, golden woman 







(Thirty-eight) 



The Girl 

Who Couldn't 

Stop Crying 

By 

HARRY CARR 



THIS really was a terrible 
d i 1 e in m a , Renee Adorer 
couldn't stop crying, It was. 
one of the most alarming little epi- 
sodes I over saw in a motion pic- 
ture studio. 

Renee had been parting from her 
old father. 

It seems that unwillingly she had 
killed a man. Tho he was a villain 
with a leer, the Northwest Mounted 
Police were after her and she had 
to fly. 

I saw her when she said good- 
bye to her father. She clung to 
him convulsively. The tears were 
streaming down her cheeks. She 
looked very little and very pitiful, 
and the tears were very, very real. 
With one last kiss and a sob, she 
broke away, and rushed — out of the 
camera area. 

Reginald Barker, the director, fol- 
lowed to congratulate her. To hijs 
surprise, she was still crying. 

"What's the matter?" he asked in 
dismay. His only answer was a 
fresh outburst of sobbing. 

Mr. Barker looked around with 
belligerent inquiry. Then the situa- 
tion dawned upon him. The little 
French girl had got her tears started 
and they wouldn't stop. He looked 
around hopelessly at Pat O'Malley 
who was costumed in scarlet, uni- 
form of the Northwest Police. Pat 
rose gallantly to the rescue. 

He picked Renee up bodily and sat her on the stum]) 
of a tree.. Then, cavorting around like a Sennett comedian, 
he pretended to take a kodak picture of her tears. 

She tried to smile but it was such a drippy, woebegone 
little smile — and it was washed away in another outburst. 

Then the director tried again. "Come on. Renee. My 
God, you know it's just a play. Come on, shake yourself 
out of it." With that he took her by both arms and gave 
her two or three little shakes. 

Her only answer was to lean on his shoulder and begin 
to cry again. 

Barker looked around at the orchestra that every 
director keeps on the sets these days. "Quick : some 
jazz," he said. 

The orchestra leader tried, "Carolina in the Morning" 
and "Mr. Gallagher and Mr. Sheehan." 

Renee slid down from the stump and made them a little 
tear-stained bow of acknowledgment: but the case was 
quite hopeless. 

"Sank you," she said in a little damp. weak, woe- 
maturated voice. Then she picked up her make-up box 




PluitORraph by Witzcl. I. \ 

Renee Adoree is not really new to the screen; but it was not until 

Reginald Barker happened to select her for an emotional pat, in a big 

outdoor story that she really found herself. He thinks she will become 

one of the finest emotional actresses ever seen on the screen 



and walked slowly away to her dressing-room, leaving 
the director and the studio staff looking like convicted 
murderers. The last I saw of her, her shoulders were 
still shaking with the convulsions of weeping. 

Renee is like the colored lady. When she mourns she 
mourns. 

Reginald Barker who has found a lot of them thinks 
she is the great "find" of the year. 

She is not really new to the screen. She lias been 
dubbing around in small parts for year-. It was not 
until this winter when Mr. Barker happened to select 
her for an emotional part in a big outdoor st »ry that she 
really found herself. Mr. Barker thinks she is due to 
become one of the finest emotional actresses e\ er seen 
on the screen. 

She is a little French girl, not fatally beautif'll but 
piquant and charming. She has been on the stage all 
her life. As a child she was an acrobatic dancer in France 
and was educated in England by a tutor while still rilling 
stage engagements in London. 

( Continued on page 



(Thirty-nine) 



Photograph by Woodbury, L. A 



Beside the Sea 

"Cjome on in — 

The water s fine! 





Above, Tommy Meighan and Leatrice Joy on location in 

Florida take a swim between shots. Below, Alice Lake 

struggles with a deep-sea monster 



Top of the page, Hazel 
Keener (in Maurice Tour- 
neur's "The Brass Bot- 
tle") doesn't care how hot 
it gets. Above, Elaine 
Hammerstein 




(Forty) 




Stars of the 

Silver Sheet 

Shine 

on the 

Silver Sand 



Above, Viola 
Dana acquires 
a coat of tan. 
Below, George 
Walsh, that 
r e m a rkable 
athlete, does 
his setting-up 
exercises on 
the beach 




Above, Harold 
Lloyd and 
Ruth Roland 
in a friendly 
pose. Below, 
Kathleen Key 
and cape, from 
G o 1 d w y n 
pictures 



(Forty-one) 




Left is May Alli- 
son who returns 
to the screen in 
"The Sign" 



Right is Leatrice 
Joy who is break- 
ing — no. — we 
mean making 
"The Ten Com- 
mandments." Be- 
1 o w is Mary 
Thurman who is 
playing in the 
East in "Zaza" 






Photograph by Rice 




Summer Girls 







Photograph hj 
Melhourne Spurr 



(Forty-two) 







Anna Q. Nilsson as the picturesque Cherry Malotte and Milton 
Sills as Roy Glennister in "The Spoilers" 

The Celluloid Critic 

Laurence Reid Reviews the Latest Picture Plays 



A SUCCESSFUL picture is Tike a successful play. If 
it has reached the high places thru some outstand- 
ing character or situation — and if it surges for- 
ward with a compact line of action, thru which its scenes 
are neatly dovetailed, it is certain to he favorably re- 
ceived and to establish itself in the memory as a picture 
with a personality. Such documents are sure to be 
revived. 

It is fitting and proper that Goldwyn should give a new 
treatment to Rex Beach's best yarn, "The Spoilers." In 
the first place it had earned a new picturization thru its 
eloquent account of life in the raw — a background which 
may only be expressed well on the screen. But what 
made "The Spoilers" so memorable was its smashing 
fight in the climax between Tom Santschi and William 
Farnum. 

It has been said that this gory combat could never be 
equalled, much less duplicated. The very thought of it 
has inspired its present spon- 
sors in general, and Director 
Lambert Hillyer in particu- 
lar, to create a scene which 
would ring down the corri- 
dors of Time — which would 
eclipse any hand-to-hand con- 
flict ever staged before the 
searching lens of the camera. 



Mr. Reid selects "The Spoilers" as the best 
photoplay of this month, and compares the 
great Milton Sills-Xoah Beery fight with its 
former prototype, the Tom Santschi-lFilliarr. 
Farnum brawl 



The Santschi-Farnum melee compared to the Sills-Beery 
(Milton and Xoah) melee would be like trying to com- 
pare two fly-weights in action against Dempsey and 
Firpo in another ring. It's a tearing, smashing, slam- 
bang bloody battle which takes up easily twenty minutes 
— which thrusts two very earnest players in deadly com- 
bat with no quarter given or taken from either partic- 
ipant. 

Of course the fight is the moment which we waited 
for. Every scene is a prelude to it. And how they did 
build up to it! Here we have the vigorous account of 
a Yukon miner, a power up Dawson way, determined to 
stand up on his own feet regardless of the efforts of a 
group of wily politicians to make capital of the ignorant 
community. The net is woven around him. The law 
is against him. Every loophole has been carefully em- 
broidered so that there appears no possible chance for 
escape. And to complicate matters he is in love with a 

girl whose guardian is the 
crooked judge in collusion 
with the disciples of evil — 
claim jumpers, in Mr. Beach's 
language. 

The suspense mounts when 
you see Sills grit his teeth to 
see the conflict thru to the 
finish. Scenes — oh, many of 



(Forty-three) 



CLASSIC 



them — are given up to primitive, primeval battle. There 
are introductory scuffles to the main bout. And the 
background is as much like the Alaskan country as a 
good location man can make it. So let's mark it up as a 
smashing, ripping melodrama of the big outdoors — 
adapted from a story which was destined for the screen 
— a melodrama which rushes with headlong speed 
straight to its climax. And what a climax ! Sills and 
Beery fairly leap at each other's throats. Tables, chairs, 
book-cases are overturned. The actors smash their way 
and each other's faces thru doors, windows and parti- 
tions — until you feel like crying "Stop it!" It's vivid and 
vital, this fight. The attending blowing up of the 
mines, the ride of the vigilantes, the 
crooked roulette game and the other de 
tails are merely incidental to the rip- 
tearing punch when Beery takes 
the count from Sills' good right 
fist — and left. 

A good supporting cast 
lends competent assistance — 
particularly Sam de Grasse, 
Barbara Bedford and Robert 
Edeson. Wallace MacDonald 
allows himself too much latitude 
in the mat- 
t e r of his 
wardrobe. 
1 1 suggests 
the latest 
Kuppen- 
heimer a d- 
vertisement 
instead of 
the style of 
the late 
nineties. 

We ad- 
vise you to 
see this pic- 
ture ; you 
will respond 
to its vital- 
ity, pictur- 
e squeness 
and melo- 
dramatic dis- 
play. 




Oval (above) 
Jane Novak 
and John 
Bowers in 
"Divorce." 
Above Alfred 
Lunt and 
Mimi Pal- 
meri in "The 
Ragged 
Edge" 



BOOTH 
Tarking- 
ton's 
prize - winning 
story, "Alice 
Adams," (As- 
sociated Ex- 
hibitors) has 
been ap- 
proached with 
fine sym- 
pathetic ap- 
preciation by King Yidor, a director who is at his best in 
visualizing the simple humanities. It's a picture not de- 
pendent upon dramatic fireworks, but scores easily and 
surely because it expresses the simple things in an equally 
simple way. 

Here is a cross-section of American family life — life 
that all of us know.- The protagonist is a wistful, im- 
aginative, pathetic, day-dreaming girl who paints vivid 
fancies — who thru her pride will keep up appearances 
despite the poverty in her home. Her mother is a com- 
plaining woman — one who continually nags her husband 
because he hasn't taken the family to the heights. Her 




father is meek and mild and naturally uncomplaining. 
But he is incapable of making both ends meet. There is 
a brother who is allowed to become a wastrel simply be- 
cause his parents are more or less uninterested in him. 
And around this quartette moves a drama which touches 
tragic chords — which paints vividly and accurately — and 
at times, poignantly, discordant family life. 

The film treatment is splendid. It carries the quaint 
humor tinctured with pathetic glimpses of the novel. It 
retains all the humanities which Tarkington incorporated. 
The big vital note in the book — when Alice entertains 
her admirer at dinner and he' sees thru her sham, is deftly 
treated — with a suggestion of real subtlety. 
These characters are made real by the di- 
rector, Rqvvland V. Lee — and the play- 
ers who fit them have seemingly 
stepped from the pages of the 
book. What a memorable por- 
trayal Florence Vidor gives as 
the girl whose dreams are shat- 
tered ! How she humanizes the 
figure who was forced to swal- 
low' her pride — and Claude Gil- 
lingwater as the father presents a 
portrait of cameo fineness. 

The intel- 
l i g cuts i a 
will thoroly 
enjoy this 
p i c t u re — 
and if w e 
are not mis- 
t a ke n. so 
will t h e 
b o u rgcoisc. 
It's a very 
h u m a n 
document, 
treated in a 
very human 
w ay. Oh, 
but that we 
might have 
more like 
it! 



rl^^TVs 



Left, Flor- 
ence Vidor 
and Monte 
Blue in 
''Main 
Street." 
Above, 
Douglas 
MacLean in 
"A Man of 
Action" 



ANOTHER 
Tarking- 
L ton tale 
— in an entirely 
different vein 
— the vein 
w h i c h many 
declare to be 
his best — is 
his "Penrod 
and Sam' 
(First Na- 
tion a 1 ) . X o 
author can ap- 
proach the 
gentleman from Indiana in the expression of irrepressible 
boyhood. All the whimsy and fancy of Youth is accu- 
rately drawn. Youth with its imitative faculties — Youth 
with its joyful pranks and heartaches is admirably 
painted. 

As a picture, it soars with the same comic spirit as the 
book — the director seeing to it that none of the Tar- 
kington sparks are missing. Consequently we discover the 
effervescent high jinks of the inseparable youngsters— 
who put on a circus and an "inishiashun" — who are 
brought upon the "carpet" before their respective fathers 
and severely reprimanded — and who are real boys as 



(Forty-four) 



j> 



CLASSIC 

played bj Ben Alexander (Ben is growing up you 
wouldn't recognize him as the enfant terrible oi 'n< 
of the World") :i> Penrod and Joe Butterworth at 
Sam. \\ liat kiiU .In the wide world over is depicted 
here with a tragic comic quality. 

\- a story it i- sketchy, bul thai i- t<> be expected. 
Yet no youngster, vital .md real, ever did things bul ulut 
were of an episodic character, Exceptionally sympa 
thetic treatmenl has been accorded the book by the <li 
rector, William Beaudine, who demonstrates the fad 
thai he hasn't forgotten his own youth, n< itten 

that Tarkington cannot be improved upon. Humor and 
pa thos are 
finely blend 
ed — which 
releases a 
picture of 
W a r m . h u - 
m an a 1 1 r i - 

buti 

It's a real 
slice of child- 
hood, never 
exaggerated, 
but ringing 
true with 
sentiment, 
spirit, and 
charm 
Among its 
scenes the 
spectator will 
find on e — 
and possibly 
many — which 
will strike 
home. The 
brightest mo- 
ment to u< is 
when Father 
S c h o f i e 1 d 
asks his 
daughter's 
cub admirer 
the hour — 
and the lat- 
ter interprets 
the inquiry 
by beating a 
hasty retreat. 




Below. Flor- 
ence Vidor 
and Claude 
Gillingwater 
in "Alice 
Adams" 



Above, Cullen 
Landis in "The 
Fog." Below, 
The Three Wise 
Fools, Claude Gil- 
lingwater, Wil- 
liam H. Crane 
and Alec B . 
Francis 




we have scenes which ire duplicated pan the 

part) scenes I ha been foil 

fully, inn visualizing it shows up 1 
It is in. ire "i .1 psychology al study than i 
ical at tii m Naturally man'. 

drawn I'.ut the sordid background the drab common 
placi >phei Praii tained Still it • 

bringing forth Lewis' latirical shafts and il 
down in establishing the analysi mug 

nes-,. it shouldn't have been 
author's pen pictures are incapable of being reprodu 
[*he types, however, are well chosen " ertainlj Flor- 

Vidor 
the 
true ]'-• 

the 

cha r.-u ■■ 
the city ^irl 

who would 
m a k '• ■ 

t he nir 
n i t y . T h e 
picture, like 
the novel . 
hits its rnosl 
accurate note 
w hen it re- 
veals these 
smug villag- 
ers as un- 
willing to 
adapt them- 
selves to any 
i d e a s and 
ideals except 
their own. 
Monte Blue 
suggests the 
physician- 
husband with 
adequate 
faith fulness. 
The most 
genuine vil- 
lager is 
played by 
Harry Myers 
as the local 
druggist. 




Above, Mrs. Wal- 
1 a c e Reid and 
Bessie Love in 
"Human Wreck- 
age," a profound- 
1 y moving 
picture. Below, 
Penrod and Sam 



B 




RING- 

I N G 
•'Main 
Street" to 
the screen 
was some- 
thing of a 
task for 
Warner 
Brothers. 

since Sinclair Lewis' best-seller is based upon words in- 
stead of pictures. Taking a widely read book which has 
established its prejudices as well as its champions, it 
stands to reason that no matter how the sponsors treated 
the subject they were certain to find themselves in a jam. 
Here is a long-winded book which is often dull — which 
is unrelieved by any balancing note of humor, and yet 
the director has done a creditable job by it — even if it 
was impossible for him to save it from becoming tedious 
in its concluding reels. 

The fault with Lewis (and of course the director must 
be held responsible) is his weakness for repetition. So 

(Forty-five) 



TRY IXC. 
tO fol- 



low the 
stage version 
too closely 

has placed 
"Three V 

I" O O 1 s ' 

i Gold w\ n ) 
just out of 
reach of the 
coveted bull's-eye. The fault of this picture is too much 
continuity — too much crowded incident — with every de- 
tail clearly outlined in advance so that it preclude- any 
value of suspense. At times it becomes weary spe- 
cially whenever the three cronies are together. By their 
actions one would imagine them a trio of silly, old g 
sips who might be engaged in playing dominoes S< they 
adopt their erstwhile sweetheart's daughter who inci- 
dentally carries all the conflict — since she is compelled to 
keep a deep secret, that her father is an escaped criminal. 
Her meetings with him place the detectives watching the 
I Continued mi page 




Clemenceau 

"The Tiger" 

of France 

Turns 

Scenarist 



Ex - premier Clem- 
enceau is taking an 
active interest in the 
filming of his book. 
He directs and of- 
fers suggestions as 
his play is produced. 
Left, Tchang- Y cov- 
ers his wife, Si- 
Tchun, with flowers. 
Below is the Em- 
peror's Messenger. 
We hope that this 
interesting picture 
will be released over 
here 



The Veil of Happiness 



Photographs by Kadel and Herbert 



In this picture play real Chinese men and women 
are seen. They were recruited from the Chinese 
students studying in Paris. The play is about a 
rich Chinese nobleman who has a beautiful wife 
and a good friend by the name of Ton-Fon 
Tchang. The husband is blind but is very happy 
with his wife and children. He suddenly re- 
covers his sight and begins to learn that his 
wife's lover is Ton-Fon Tchang. Rather than 
see this unhappiness he puts his eyes out and 
becomes blind again. . . . 




(Forty-six) 



_J 



Classic's 

Monthly 

Department 

of the 

Theater 



Below, Ruth 
Page in her odd 
and interesting 
dance for "The 
Music Box 
Revue" 




The 

Hardy 

PerenniaN 

of the 

Season 





The 
Photographer 

Takes the 
k Stage 



Below, Olive 
Vaughn, one of 
the beauties from 
George White's 
newest and love- 
liest "Scandals" 



Above, Helen 
Shipman and Nat 
Nazarro in "The 
Passing Show of 
1923" going 
strong at the 
Winter Garden 



Photograph by 
Victor George 




Photograph hy 
White Studios 






'Forty-seven) 




Photographs (above and below) by White Studios 




Photograph by Apeda 






Above, Marion 
Kerby, as she is, 
a charming 
young woman 
and an actress of 
distinction and 
skill 



Above, Queenie Smith (formerly ballerina 
at the Metropolitan Opera House) with 
Joseph Lertora in the Russian ensemble 
from "Helen Of Troy, New York." 
Queenie runs away with the show. It is by 
those masters of satire, Messrs. Kauffman 
and Connelley, who prove their further 
ability by writing a musical comedy. Below, 
Katherine Bolton, Louis Mann, and George 
Sidney, in a scene from "Give and Take" 





Photo by Apeda 






Above, Marion 
Kerby as Nana, 
the absinthe- 
crazed victim 
who beats her 
young siste"r in 
"7th Heaven" 



(Forty-eight) 



Plays like "Merton of the Movies," "7th 
Heaven," "Rain," "The Fool," "Give and 
Take," "The Old Soak," "The Music Box 
Revue," and several others, ran all last 
winter, all this summer, and are start- 
ing in the fall apparently as popular as 
ever. "Kiki" ran six hundred nights, and 
we have an idea some of these will equal it. 
Below, Florence Nash and Glenn Hunter 
in "Merton of the Movies" 




Right, Sara 
Sothe rn, 
who plays 
so pathet- 
ically the 
little lame 
girl in 
C hanning 
Pollock's 
"The Fool," 
another 
> 1 a y that 
ills its 
theater 
nightly 



l'hntn»r.ip'- ' I 



James Barton in "Dew Drop In," which would drop 
out without him. This is a comparatively new one 



Photograph by 
Albin 



(Forty-nine) 




Photograph by Mutay 



picture. Gloria Swanson, H. B. 
Warner; Lucille La Verne, 
Ferdinand Gottschalk, Riley 
Hatch, and twenty-five extras 
are working there. 



Madge Kennedy, a twinkling 
light of both stage and screen, 
will open in September in a new 
musical comedy called "Poppy." 
Dorothy Donnelly is responsible 
for the book. 



Flashes From the 

Of the Stage 

Caught by 

OUT on a picturesque estate on Long Island at the head waters of 
Little Neck Bay where, ninety-five years ago, small craft used to 
put in for supplies from the general store, a little bit of Southern 
France has been translated for scenes in "Zaza," Allan Dwan's production 
of the famous French play. The old general store, which was built in 
1828, has been transformed into the quaintest French home imaginable. 
It is Zaza's love nest. The grist mill, where the farmers used to come 
in the- early days to get their grain ground and a demijohn of rum, has 
been made into a thatched building by the art department, and the old 
barn which stood next to the store has been fixed over to represent a 
typical French barn. All of these buildings stand on the edge of a 
beautiful lake. Director Dwan expects to spend a week on this location 
filming scenes that are expected to be among the loveliest shown in the 



Upper left is Ben Lyon, 
one of the principals in 
the stage success, "Mary 
The Third." Goldwyn has 
signed him for pictures. 
Right is Ernest Truex in 
a scene from "Six Cylinder 
Love" that Pox is making 
as a picture. Lower left, 
is Lew Cody. If Mr. Cody 
is trying to live down the 
title, "Male Vampire," we 
would respectfully suggest 
that this isn't a particular- 
ly good way to do it 



Richard Barthelmess has completed "The Fighting Blade," and 
has started on another picture under John S. Robertson. It is a 
modern story, the title of which has not yet been given out, and it 
will be released before "The Fighting Blade." as they thought it wise 
not to have two costume pictures follow each other. 



I 




A. H. Woods, by arrangement with 
Sam Harris, will present Mary Ryan in 
"Red Light Annie," a new play by Sam 
Forrest and Norman Houston, at the 
Morosco Theater, on August 20th. 



Hot weather means nothing in Gen- 
evieve Tobin's young life. Genevieve 
rushes blithely from her job at the Wil- 
liam Fox Studios, where she is creating 
the leading feminine role in "No Mother 
to Guide Her." to the theater where she 
is featured in Broadway's big hit, "Polly 
Preferred." She created the role of 
Patricia O'Day in the stage version of 
"Little Old New York." 



Thomas Meighan will travel from 
New York to California and back in 
the production of his next three Para- 
mount pictures. As soon as he has com- 



(Fifty) 



Eastern Stars 

On the Screen 

the Editor 

pleted Peter B Kyne's story, "Homeward Bound," which ia 
iu)\v being madeal New London, Conn., Mr. Meighan, accom- 
panied by Mrs. Meighan, will go to the Lasky studio in Holly- 
wood to film George \de"s original storj tentatively titled 

"All Must Marry." Mr. Meighai) will pick up George Ade 

in Chicago on the wa) West, Following the production oi 

the Ade story, Mr. Meighan will return East to Kennebunk- 
port, Mo., the summer home of Booth Tarkington, where he 
will work with Mr. Tarkington and a director and scenario 
writer on an original story which the famous novelist and 
playwright has just written expressly for Mr. Meighan. 



Ernest Truex. creating the leading role in Elmer Clifton' 

production of "Six Cylinder Love" 

at the Fox Xew York Studios that 
he played on Broadway and the 
road for two years, deserves to go 
down in history, for immortalizing 
the moustache ! Truex, who ad- 
mits to being five feet and a bit 
more in height, vows he grew a 
moustache so he could prove his 
age and take part in conversations 






Photograph by Russell Ball 

without being told "children should be 
seen and not ..." oh, you know the 
rest. 






The schedule of the Theatre Guild for 
the coming season was announced yes- 
terday. The Garrick will open late in 
September with "Windows," by John 
Galsworthy, described by him as a "com- 
edy for idealists and others." Martha- 
Bryan Allen, now in "The Devil's Dis- 
ciple." is the only member of the cast yet 
chosen. Following "Windows" will come "The Failures." an 
adaptation from "Les Rates," a tragedy by H. R. Lenormand. Jacob 
Ben Ami will have the lead. Other productions will include Molnar's 
comedy "The Guardsman." Shaw's "C';esar and Cleopatra": "Masse 
( Continued on page 88) 



Photograph by Edward Thayer Monroe 

Above is a miniature Gilda Grey. 
Right is a shot from "Homeward 
Bound," Tommy Meighan's picture. 
Upper right is Dorothy Gish with her 
husband, James Rennie. The soldier 
is Lawrence Cecil who plays the Ser- 
geant in "The Devil's Disciple." He 
was a Captain in the English Army 
during the World War and has a 
brilliant war record. Theatricals are 
doubtless rather tame to him 




( Fifty-one) 




Classic Considers 



ZELDA SEARS 

Because she wanted to be a playwright and that's what she is. She 
started her career as a reporter on the old Chicago Herald and came to 
New York in the chorus of an Erlanger musical comedy. She was secre- 
tary to the late Clyde Fitch and created all his comedy roles on the stage 
for twelve years. Her first complete play was "Lady Billy" for Mitzi. 
She was co-author of Madge Kennedy's "Cornered," and sole author of 
the popular "The Clinging Vine," for Peggy Wood 



DOUGLAS FAIRBANKS 

For the very good reason that he has 
more courage and greater vision than any- 
one else in the moving picture industry. 
Because he is consistently and without 
self-consciousness trying to make "bigger 
and better pictures," and is succeeding. 
Because he has done much to dignify his 
profession. Because he manages to in- 
struct, edify and entertain all in one picture. 
And last, because he won the sweetheart 
of the world for his wife 








Photograph by 
Edward Thayer Monroe 



WALTER DAMROSCH 

Because he has done so much 
to popularize music in New York 
City, without ever once lower- 
ing the high standard of taste 
set by one of our finest sym- 
phony orchestras. Because he 
condenses operas, and plays se- 
lections from them, and makes 
them comprehensible to children 
every Saturday morning during 
the winter. Because he is the 
conductor of the New York 
Symphony Orchestra,, which you 
can hear for a quarter — if you'll 
sit up under the roof of Carnegie 
Hall 



(Fifty-tv/o) 




Greed 



Written in Short Story Form by Patricia Doyle 



T 



'R1XA took the slip of paper in her hand 
without a word. She was beyond speech. 
Maria's senseless yelling had subsided. 
Marcus turned on his heel in disgust. McTeague 
breathed in an immense sigh? like a huge walrus 
coining up for air. Papa Sieppe stood dum- 
founded and Mamma Sieppe began to cry softly. 
Nobody said a word. The slip of paper was a 
check for five thousand dollars. 
That was almost more money than Trina Sieppe could 
think of all at once, certain- 
ly more than McTeague 
could take in. Marcus 
Schouler was, however, 
painfully aware of the im- 
mensity of the sum. Trina 
had been engaged to him 
and in a fit of maudlin 
sympathy for his pal 
McTeague. he had freely 
transferred her to his 
awkward attentions. At 
first Trina had been afraid 
of his great bulk and re- 
coiled timidly from his 
clumsy love - making, but 
there was in her now un- 
deniable response to his 
aggressive masculinity. 
albeit she admitted it even 
to herself a little shame- 
facedly. She remembered 



GREED 

Fictionized by permission from Goldwyn, from 
the screen version of Frank Xorris' novel, "Mc- 
Teague." Adaptation and direction by Eric von 
Stroheim. The cast: 

McTeague Gibson Gowland 

Trina Zasu Pitts 

Marcus Schouler Jean Hersholt 

Selina Joan Standing 

Zerkow Cesare Gravina 

Maria Macapa Dale Fuller 

Old Grannis Frank Hayes 

Miss Baker Fanny Midgeley 

Mr." Sieppe Chester Ccmklin 

Mrs. Sieppe Sylvia Ashton 

The Twins Oscar and Otto Gottel 

August Austin Jewel 

The lottery man Lou Poff 

Heise, the harness maker Hughie Mack 

Traveling dentist Erich von Ritzau 

McTeague's Father James Marcus 



the first time she had seen McTeague. It was in 
his office. She and Marcus and all the Sieppes 
had gone on a picnic and the party had gotten 
rough. Trina fell out of a swing and broke her 
tooth. But Marcus had comforted her by telling 
her his friend McTeague who was a dentist — of 
sorts, would fix it up for her. 

So she had gone the next day to McTeague's 
office. Maria was there begging for junk, which 
lowly performance she regarded as an entirely legitimate 

business razy in the 

head!" McTeague had 
in his gruff voice, illustrat- 
ing the fact by tapping his 
huge head with a thick 
forefinger and pointing at 
Maria. Trina nod 
assent, but Maria only 
Stole a handful of gold 
fillings behind Mel 
back and went to Ztrkou 
with them. 

McTeague'- stolidity had 
deserted him. He trembled 
before this slim girl with 
her ropes of fine black hair 
and her little tapering 
hands. He thought oi a 
thousand things lie could 
do to make her keep on 
coming to his office. The 
last time she came he had 



(Fifty-three) 




In a fit of maudlin sympathy for his pal, McTeague, Marcus had 

surrendered his girl to the dentist's awkward love-making. Below: 

Trina sends McTeague the mammoth gold tooth he had so long 

coveted for his office 



CLASSIC 

McTeague took her fingers play- 
fully between his strong white teeth. 

"Oh, you hurt," she cried, but he 
only laughed. 

In a much poorer room on a much 
poorer street Maria and Zerkow, the 
junk dealer, started their miserable 
life together. "And so my father 
buried his plate," Maria was saying, 
rolling her big vacant eyes. "Four 
dozen gold dishes, all sizes, six 
platters, all sizes, two great big soup 
tureens, eighteen " 

"But where, merciful God, 
where?" Zerkow interrupted wring- 
ing his dirty hands. "Where did 
your father hide all this gold?" 

"I cant seem to remember," Maria 
said without expression. Her hus- 
band seemed about to choke her. 
"But I'll think hard, Zerkow," she 
added hastily. "Give me but a little 
time and Maria will find the place for 
you." 

He had to be content with that 
altho it was only one of many times 
this identical conversation had taken 
place. Zerkow dreamed of that 
mysterious buried gold at night. He 
thought about it by day. It was for 
that he had married the half-wit 
Maria and lived on the price of the 
gold fillings she managed to steal 
from McTeague. 

As for the McTeagues, they pros- 
pered well enough. Trina began to 
save money to add to the five thou- 
sand. It got to be a regular mania, 
with her. She put it in a little trunk 
she kept under the bed, the key of 



given her ether — to save her from pain. When she 
lay back in the chair unconscious, he kissed her 
moist soft mouth over and over again, hungry 
devouring kisses. She came to, shivering, but not 
with fear. 

They were engaged after that and now they 
were to be married in a few days. McTeague's 
practice was well enough, but with five thousand 
dollars they had nothing much to worry about. 
Trina took the money to her Uncle, for whose toy 
shop she used to paint little wooden dolls, and he 
deposited it in a bank for her. She couldn't bear 
to spend it, but she did go out and buy a mammoth 
gold tooth that McTeague had long coveted for 
his office. He was touched and thanked her with 
many bearlike hugs and rude kisses. He never 
had been particularly articulate and now he was 
reduced to a gauche demonstrativeness that alter- 
nately thrilled and disgusted Trina. 

After they were married, McTeague suggested 
that they take better lodgings. 

"On your pay, we cant afford it," was Trina's 
brief rejoinder. 

"But your five thousand dollars !" muttered 
McTeague considerably surprised. 

"Stays where it is," snapped Trina. Then 
quickly seeing the offended look in her husband's 
dull eyes, "Love your Trina?" 

"Yes," he answered and put his arms around her. 

"Love her big?" murmured the girl running her 
slim fingers thru his bushy hair. 




-four) 



(Fifty-four) 



CLASSIC 






which she had alwaj s 

witli her. As East 
a> fthe couldi ihe 
changed it into gold. 
When her husband 
was si his office, she 
would gel it out and 
play with it lingering- 
iy, lovingly, gloatingly. 
At least halt of every- 
thing he gave her she 
put away in the trunk. 
She bought cheaper 
meat, cheaper clothes. 
She went hungry her- 
self ami skimped her 
husband, so that the 
glittering pile might 
grow. 

McTeague k new- 
nothing of this. He 
was fairly well con- 
tent. He was still 
under the spell of 
Trina's superior re- 
finement. He loved 
her daintiness, her 
great ropes of hair, 
the rich vital odor of 
it, her little hands 
with their little 
pointed fingers, which 
he loved to bite in 
boorish gaiety, altho 
she a 1 w a y s com- 
plained that he hurt 
her. 

At the end of three 
years McTeague de- 
cided they would 
move into a little 
house, the rent of 
which was thirty-five 
dollars. Trina almost 
screamed. "Thirty- 
five dollars ! We 
couldn't possiblv 
afford it." 

"But the five thou- 
sand," said McTeague 
again. "You pay half 
and I'll pay half. 
You've been saving a lot of money anyway. We can use 
that. There must be at least " 

"No, no," cried Trina. "There isn't any. I haven't 
any money at all saved. Take a better house. You're 
crazy. We ought to take a cheaper place." 

"You're getting to be a regular miser," retorted 
McTeague angrily. "You're worse than old Zerkow." 
And he went away and rented the house anyway. 

Then one day he received an official-looking letter from 
somebody or other enjoining him from the further prac- 
tice of dentistry, because he didn't have a diploma. 
McTeague was utterly stunned. "A diploma, a diploma ! 
What is that, Trina? I've been practising dentistry for 
twelve years. Why should I have to have a diploma?" 

Trina couldn't tell any more than he could, but her 
woman's intuition divined the cause of this catastrophe. 
It was Schouler's work of course, Marcus Schouler, who 
had never forgiven McTeague for winning, not Trina 
exactly, but the five thousand. If he could only have 
known 

Trina's heart went cold at the news. Would she have 







The grind began 
Trina shed her 



McTeague's idleness had become habitual, 
former daintiness and was now a sloven 



to give up some of her beloved money' No, 1 
Never. Never. Never. The clink to her ears, the glitter 
to her eyes, the cold smooth feel to her fingers, meant 
more to her now than love or peace or life itself. In 
fact, her money was all of those things to her. Only 
McTeague still mattered a little. She could understand 
old Zerkow now, whom she had always despised before. 
He too hoarded gold, but such a little beside her shining 
pile! She felt sorry for him now, old Zerkow who had 
been fooled by Maria's lack-wit tale of her father's plate, 
not a single piece of which ever existed save in her own 
muddled mind. Trina would never give up her money, 

McTeague slowly abandoned his profession. For days 
at a time he sat gloomily in his own dental chair with noth- 
ing to do. "We'll be poor together." said Trina. and lead 
him to a dingy back hall room. "This is all we can afford." 

"Afford, hell !" McTeague sneered. "You and your 
five thousand three hundred ! You make me sick." 

"My money wont be touched," shrilled Trina. 

"Well I wont live in this dump," McTeague snarled, and 
bit her fingers. 



(Fifty-five) 



CLASSIC 



"All right," brought out Trina triumphantly, tho she 
winced from the pain. "Then pay the rent for this 
apartment." 

Hut of course he couldn't pay the rent. He had no 
money at all. Trina was supporting him, so they sold 
their furniture and moved in, and McTeague started to 
look for work. The grind began. Trina took to whittling 
dolls again for her Uncle's toy shop. She wore gloves 
to protect her hands but still, she had become a sloven. 
McTeague came home disheartened, night after night. 
He didn't know anything but dentistry and nobody would 
give him a job. Once he asked Trina for money to buy 
beer. She flew into a rage. When he did manage to get 
a job, she took all his pay away from him and he sub- 
mitted like a docile bear. In spite of their poverty, Trina's 
pile in her trunk kept on growing. She got one hundred 
and fifty dollars from the sale of their furniture. She lied 
cleverly about it to McTeague and spent more sweet stolen 
hours, counting and polishing endlessly the hoarded coins. 

Maria came over to complain of Zerkow. "He's never 
been the same since the child died," she mumbled, in her 
hoarse unnatural voice. "He whips me with a long black 
whip. God ! How it do hurt ! He says he'll kill me if 
I dont tell him where my father's plate is hid. I dont 

know where it is. Seems like as if " The woman 

broke off shudderingly. 

"Don't be scared, Maria," said Trina not unkindly. 
"He'll never kill you, because if he does, he'll never find 
out where the treasure is. See?" 

"Brew me a drop of tea," whined Maria, but Trina 
said she had none, and Maria went home where the frantic 
Zerkow, his 
patience at an 
end, awaited 
her. 

In the morn- 
ing Zerkow's 
body was 
found floating 
in the river 
and Maria lay 
at home, her 
head half 
severed from 
her body. 
Trina wept 
with fear and 
horror. "Two 
people dead," 
she thought, 
"and all for a 
treasure that 
never existed 

" And she 

buried her face 
in the golden 
heap in her 
trunk and was 
comforted. 

They moved 
into Maria 
and Zerkow's 
rooms, horrible 
and filthy tho 
they were. 
The rent was 

almost nothing. McTeague's idleness became habitual. 
Trina drove him out of the house every day rain or shine 
to look for work. He took to haunting the saloons and 
muttering against her. "Miser," he said over and over to 
himself. "She's a mean, rotten miser." He sold his beloved 
gold tooth for five dollars. Finally he sold His canary 
birds that he had loved. Trina demanded the money he 




The wedding of Trina Sieppe and McTeague, where they all gorged them- 
selves for an hour and a half 



got for them but he only said, "Shut up, or I'll bite your 
fingers for you. I'm sick of your damn stingy ways." 
''You dont love me," said Trina starting to cry. 
"No, by G ," shouted the man and left her stand- 
ing in Zerkow's mouldy doorway. 

Trina locked herself in her room with the grief-assuag- 
ing gold. She played with it with her poor mutilated 
fingers stained with liquid gilt from the toys. They 
glittered like the gold. Unholy glitter. 

At eight o'clock McTeague had not come back and 
Trina went out to hunt for him. She went back to their 
old apartment. She went to his old office. She walked 
down to the river front. She wanted him very much. 
She had almost made up her mind to give up some of her 
precious savings by the time she got home. Once in her 
room, she fainted dead away. The lock of her trunk 
had been broken and the gold was gone. 

In the morning a doctor came. He shook his head over 
her infected fingers. "They must be amputated," he 
said seriously, "or you will die." 

Trina moaned, "Oh, my gold pieces ! I could forgive 
him for this — my sore fingers — but not for stealing my 

money. I must get it back — my beautiful money " 

So three fingers were cut off and Trina found work 
scrubbing floors in a kindergarten. She mended the lock 
on her trunk, and started another bag of gold. But it was 
so slow to grow. She thought longingly of the five thou- 
sand dollars until she couldn't stand the strain any longer. 
She went to her Uncle and had him cash her check in 
twenty-dollar gold pieces. She took the heavy canvas 
bag home and untying the cords let the glittering rain 

pour down 
into her treas- 
ure chest. She 
took each piece 
between her 
little teeth. She 
held them 
against her 
cheek. She 
spread them 
out on her nar- 
row bed and 
lay down and 
slept as tho she 
lay in a lover's 
arms. 

At midnight 
McTeague 
knocked on the 
window. She 
awoke with a 
start, every 
sense alert, 
hurriedly cov- 
ering up the 
gold pieces. 

"Let me in." 
he barked 
hoarsely. 
"No." 

"I've not 
eaten since day 
before yester- 
day." 

"What have 
you done with my four hundred and fifty?" 

"Spent it, blew it in on drink. Give me a dime — or 
something to eat." 
"No." 

"All right, you dirty skinflint, I'll make you dance 
for this." 

{Continued on page 92) 

(Fifty-six) 



. 



MISS LIZZIE \K.\ \. a populai German ad 
who possesses "the perfect filming face" what- 
evei that is centl) arrived at these shores 

f ru m Bremen In private life she is Mrs, Betty Schwartz. 
i 'i izzie \"-.t' " "Because," we liKr to be- 
she would answer, "Betty Schwa uch an 

ugl) name." 

-r* + + 

S <!>tlc att criticism in the moviti "Do you want 
t>. make your mother look like that'" demands the 
college professor in "< >nl) 38" to the selfish daughter 
He points an accusing finger at a picture on 
i. ituc wall. rhe subsequent close up 
reveals the picture to be Whistler's 
portrait of his mother. 



From mi- Mouths 
Babes 

II V Intcn i<u> Farina 

The small yet 
adequate dressing- 
room was cheer- 
fully hung with 
black striped ere- 
tonne, further 
embellished with 
generous slices of 
pink and green 
watei melon. 

"Mistol loney- 
vale," remarked 
the gracious occu- 
pant and owner 
thereof, "jess you 
drape yo' pussinality 
in dis yah Maurice 
chair whilst 1 camel 
Bags de rivishments of 
tempus." 

We were in the dressing- 
room of Clarissa Myrtle 
Iphigeuia Hoskins, the two-year- 
old coffee Cleopatra, known to a 
clamoring multitude as "Farina."' Miss 
Hoskins I we cannot bring ourselves to the 
free and easy familiarity of her screen name) 
was performing mysterious feminine rites to 
her countenance with a Tootsie Roll— gilding 
the lily, as it were. Ensued the following 
conversation : 

Us: To what do you attribute your great suc- 
cess, Miss Hoskins? 

Farina (suddenly dropping the beauty aid and 
miffing delicately with sensitive nostrils): Chickum I 

Us : Have you anything to say to the millions that 
applaud you? Have you no ideals to disclose, no little 
phrase of help, or cheer? 

Farina (a bit mare positively) : Chickum! 

I s: You are young, it is true. Yet already 
you have gone far. In the coming years there 
is no telling — — 

Farina (abruptly) : I am my own best pal. 
and, 1 may add, my severest critic. Chickum! 

Us: In our humble opinion, and we are not 
alone, Miss Hoskins, you are a great artist. 
I ell us your dreams, your hopes, your am- 
bitions. Unclose a bit of that mystery which makes you 
so delightful, so refreshing, so ingenuous and endearing 
to us. all. Come on, kid, dont be a crab. 

A vagrant zephyr stirred the door of the little apart- 




ment It cat ned with it an uinn iful 

and disturbing. 

"Man. man !'* muttered Mi>^ Ho-.!. 

d chickum!" Sliding fron 

waddled with quiei dig 
the room 

4- •:- + 

On dtt that a certain prodw i 
considering the filming ol 
of th<- w.rk- of Juh • 
first, obviously, will be "Two Thou- 
sand Kliegs l inder the Sea." 

T *r T 

1 )id you know that — 

Charles de Roche's right name 
is Charles de Rochefort ? 
Gloria Swanson makes the 

loveliest mayonnaise dl 

Marion Davies 18 helping 
Einstein with his new 
bonk ? 

Constance Talmadge is 

closely related to 

Norma Talmadge? 

Bebe Daniel's right 

name is Bebe Daniels ? 

Dorothy Dalton never 

eats two helpings of 

dessert ? 

As a mere boy, we 
used to play with Dick 
Barthelmess 



What's more we almost 

bought an automobile for 

Alice Brady, once. She had 

to have one. and she had to 

have one right away. And did 

we know of a g a PPy 

make? Well, little boys and girls. 

of course we did, and to help out her 

director we called up the — company 

and told them rhe glad news. Then we 

sat back and rubbed our hands, feeling pretty 

darn well satisfied. 

Within ten minutes, the car arrived. Mi>> 
Brady rushed out to see it. "Is this the car 
you told me was such a snappy attair?" 
she asked. 

"That's the kind," we assured her Sttlili 
"our prettiest." 
"Heavens!" exclaimed Miss Brady, "it's 
terrible ! Take it aw ay." 

•{• 4* 4* 

Recent Events Thai Have 
Made Us Reach poh the 
Sodium Bicarbonate 

What they did to Sinclair 
Lewis' "Main Street." . . . Lewis 
receiving fifty thousand dollars 
for letting them do it. . . . Louise 
Fazenda as the comic servant in 
"Main Street." . . . Alice Howell 
a> the comic servant in "Wandering Daughter- "... 
"Wandering Daughters." .. The trick (ierman 

police dog in the Tartar setting of "The Law of the 
Lawless." . . . 




1 u ^rations by 

Courtesy of 

Jaiiueline Logan 



(Fifty-seven) 




BBS 



Offl 



A Renaissance Romance 

The Sixteenth Century Entertains The Twentieth 
Photographs by Reiss, Berlin 



"Moiuia Vanna" is undoubtedly one of Maurice Maeterlinck's 
greatest plays. It has now been interpreted in terms of 
the screen by a German film company and will soon be 
released in the United States by our own Fox. An interesting 
fact about "Monna Vanna" is that it was inspired by and 
written for Georgette Le Blanc, Maeterlinck's first wife. 
When she divorced him she refused to accept any settlement 
from him, taking only this play as justly hers 



(Fifty-exght) 








I 



Paul Wegner, the distinguished actor who played "The Golem," 
is cast as Guido Colonna, who is called upon to sacrifice his 
young wife for the starving Pisans. The famous and beautiful' 
Lee Parry plays Monna Vanna. A gorgeously picturesque era, 
this fifteenth century Italian romance reconstructs for your edi- 
fication and delight. We earnestly commend this sort of thing 
to your consideration 







\ 



(Fifty-nine) 




Lois Wilson and her sister, Con- 
stance, who has broken into the 
movies. She is leading lady for 
Walter Hiers in "Fair Week" 




The Hollywood 

Transcribed by 

IT looks as tho the little girls were going to climb back onto the 
throne after all. Some one had an inspiration a while back to 
change the screen type. Especially as regards altitude. Tall 
girls like Nita Naldi and Aileen Pringle and Katharine McDonald 
were thought to be about to rage. But the three sensations of the 
Hollywood season have all been tabloid young ladies. 

They are Mary Philbin, who knocked a home-run in "Merry Go 
Round"; Lucile Rickson who, Marshall Xeilan thinks, is the sei 
tion of a dozen seasons and one of the most wonderful prospects 
he has ever known ; and Renee Adoree. 

Miss Adoree is Tom Moore's wife. She is a little French girl 
who has been working as an extra girl for some time, but got a 

sudden chance while 
Reginald Barker was mak- 
ing a Canadian Mounted 
Police picture originally 
called "The Law Bringers" 
but named everything else 
at various times since then. 
As a little French Canadian 
girl who is being brought 
back to be punished for 
murder by the man who 
loved her, she gives one of 
the finest performances 
that Hollywood has seen 
this year and seems to be- 
token the start of another 
big screen career. 




Above:"It's 
not the hu- 
m i d i t y," 
says Cor- 
inne Grif- 
fith, "it's 
the heat!" 
and does 
what she 
can about 
it. Lef t : 
Cecil de 
Mille di- 
recting Ra- 
mesis II in 
"The Ten 
Command- 
ments" 



George Fitz- 
maurice, who 
is directing 
Pola Negri 
in ''The 
Cheat," 
showing her 
how to pre- 
pare the milk 
bath which is 
part of an 
exacting role 




They gave a trial per- 
formance of her picture the other 
night in a little theater in the suburbs. 
Everyone was very anxious to see the 
young star. At last some one dis- 
covered in a loge a girl with her hat 
hunched down over her eyes and a pair 
of dark glasses. Whereupon the 
official nudge was passed. "Ah, the 
modest star concealing herself." 

After the performance the agitated 
and adoring audience followed her in 
a body to the street. Whereat the 
young lady looked about in mild sur- 
prise ; took off her goggles and dis- 
closed herself as somebody's mild and 
inoffensive stenographer. 



There is a dark rumor that lierr 
Ernst Lubitsch may go back to tin 
Mary Pickford studio as Mary's per- 
manent director. His contract with 
the Hamilton Company having ex- 
pired, he was installed at the Warner 
Studio where he was to direct 
"Debureau." Something seemed to 
have failed to "jell" however, and 
Mary is reputed to be negotiating with 
him to return. 



Lubitsch is unwilling to direct 
Mary's next picture, "Dorothy Ver- 
non," however. Mary makes no secret 
of the fact that she thinks he is the 



(Sixty) 



Boulevardier Chats 

HARRY CARR 

most wonderful dircetoi --lie cvci saw [*he onlj trouble, he is a 
little ton pepp) t"i the censoi I hose who were present when Mais 
lanning to picture "Faust" under his direction, toll me thrilling 
stories of how Mar) ami her fond mamma -at absolutely frozen 
with horror while Lubitsch described with excitement his version 
nt the story in "which Marguerite had a bab) and. as Lubitsch said, 
•not- is how >hc does when she strenkles the child. No? Yes 



The I ubitsch family are now fascinated with two discoveries. 
Lubitsch has discovered American jazz. He goes to all the coon 
shows and simplj roars and doubles up with laughter. Mrs 
Lubitsch. who is a charm- 
ingly pretty German ac- 
tres- is excited over 
Esquhno pie. Whenever 
she mentions going hack to 
Germany for a visit, her 
husband inquires quizzi- 
cally, "but how you could 
live now without that 
Esquimo pie. yes ?" 
» + * 



Deep, dark and mysteri- 
ous are the visits of 
William Randolph Hearst 
to the violdwyn Studios, 
with which his Cosmopoli- 
tan Pictures have lately be- 
come amalgamated. With 
Miss Marion Davies, the 
star ^i his pictures, he stalks solemnly 
thru the place. In his wake the other 
day came a tall, distinguished looking 
gentleman who hail a pad of paper and 
pencil. Here and there he would stop 
people whom he met and inquire, 
"Mas I inquire who you are and what 
you do?" And when told by the 
trembling one, he would reply vaguely. 
"Ah >es," and walk on. Now what 
d' y' s'pose that means? 





Mabel Normand (would you ever 

Suess it?) in the role of "The Extra 
irl," her next Mack Sennett 
production 



Douglas Fairbanks has begun his 
"Thief of Bagdad" picture in the 
ino>t gorgeous and magnificent set 
ever seen in Hollywood. They say it 
will he a picture along lines never be- 
fore seen on a screen. 

Regarding the last minute retire- 
ment of Evelyn Brent from the lead- 
ing part and the substitution of 
Julanne Johnston, the "low down" is 
not so sensational, after all. Nobody 
believed the official announcement that 
Miss Brent was leaving because 
Douglas did not make enough pictures 
per year. The real reason is said to 
he simply that Miss Brent had become 
somewhat too heavy for the extremely 
svelte lines of the heroine. Xot so 
thrilling after all. 



Pouglas Fairhanks, Jr., has made his 



Above: 
George Mel- 
ford and one 
of the hom- 
ing pigeons 
he makes use 
of in"Salomy 
Jane." Right: 
Zane Grey, 
eel ebrated 
novelist, 
comes to the 
movies. 
Paramount is 
filming "To 
the Last 
Man," a 
typical Zane 
Grey storv 




Viola Dana 
gives a party 
to her friends 
on her own 
front lawn in 
Hollywood. 
Note the size 
of the friends 



(±Uty-one) 



CLASSIC 




Here is a funny old 
picture of Rex Ingram 
when he was in the 
movies. The others are 
Lillian Walker and 
Earle Williams 



Tom Mix shows an 
early American lady 
how to be beautiful tho 
masculine. His next 
picture will be "North 
of Hudson Bay." Below 
is Tremont Lincoln 
Gentze's first birthday 
party, to which were 
invited all the movie 
starlets in Hollywood 



triumphant advent into Hollywood to star for the Lasky 
Company. Knowing that Douglas, Sr., bitterly resented 
the fact of the boy's being taken out of school at thirteen 
to be made into an actor, everyone wondered what would 
happen at the train when he came in. Douglas, Sr., grace- 
fully evaded the difficulty by sending his brother to mingle 
with the in-laws of his former wife. Doug, Jr., goes over 
to his father's studio to play tennis with Dad every day. 



A terrifying rumor creeps out that Hope Hampton 
yearns to emote and be Juliet and all such stuff. At 
present, she is making "The Gold Diggers" at Warner 
Brothers Studio. One of the thrills of "The Gold Diggers" 
is to be Louise Fazenda as a society queen. Altho she is 
never seen ordinarily except with her hair slicked back 
and falling all over something, Louise is in fact a very 
pretty girl. 

"How do you like being all dressed up?" some one 
asked as she came on the set with a low-necked gown. 
"Well," considered Louise, "it's all right, but you have 

to be so awfully clean. But 
anyhow it makes me feel 
wicked and expensive." 



Let it be strictly under- 
stood that turnips are not in 
favor in the high places of 
Hollywood for the next few 
weeks. Elinor Glyn has re- 
turned to supervise the di- 
rection of "Three Weeks" at 
Goldwyns. And Elinor has 
a peculiar horror of turnips. 
Whether in some previous 
existence, she . . . Well, 
anyhow, during her last 
visit she was the guest of 
honor at a Hollywood 
soiree. She took one look at 
the dinner and staggered out/ 
To an anxious inquiry, she 
said in an outraged voice. 
"Turnips ! Turnips ! Fancy 
their having turnips for me !" 





f..» >■ m 



To really "belong" now, you must 
have received a message from the 
spirit land from Honore Balzac, the 
French novelist. His grandniece is in 
Hollywood, hovering around the pro- 
duction of her revered ancestor's 
story, "The Magic Skin," being made 
into a picture by the Achievement 
Films of Philadelphia. It appears that 
Mile. Balzac, who is a thrilling young 
lady with onyx eyes, has a line, now 
and then, from the spirit world in the 
hand-writings of the late Balzac. Ev- 
eryone crowds into her dressing-room 
when the spirit moves. From his 
spirit world, Balzac knows just when 
all the assistant directors will get a 
job with the megaphone ; when all the 
little extra girls are to be starred and 
the other secrets. 



The big motion picture exposition 
which has been in the planning for so 
(Continued on page 72) 



(Sixty-two) 








THE STUDIO 
A sketch by R. O. Ward of one of the big spotlights in the Film Guild's Studio 



(Sixty-three) 




Rankest Treason 

Verse and Pictures 



By 



DOROTHY ROSENCRANS BRIGHTON 




Suppose that when a thought con- 
fronts Adonis 
There is no mantel there 'pon which 

to lean. 
His little belted back half turned upon 

us 
And solemn thoughts aracing thru his 

bean. 
But just supposing this, is rankest 

treason 
To all traditions — you see what I 

mean, 
'Twould cause a riot surely, and with 

reason, 
No man thinks, sans a mantel, on the 

screen. 



Suppose that when the heroine is 

pretty 
They show no fancy ball nor bathing 

scene. 
Not one small glimpse as Eve — ah, 

such a pity, 
And no flashback as slave or ancient 

queen. 
But just supposing this, is rankest 

treason 
To all traditions — none save critics 

care 
The plot is weakened ; all the old and 

seasoned 
Know 'tis not how she acts, but how 

she's fair. 



Suppose that when a fire breaks out, 

young cutie 
Has gotten her hair braided for the 

night. 
She doesn't look like such an awful 

beauty 
And yet no ruffled boudoir cap's in 

sight. 
But just supposing this, is rankest 

treason 
To all traditions — this you've surely 

learned — 
Before she'd be seen capless (what a 

reason ) 
She'd sit right in her bed and be all 

burned ! 



Suppose that when the husband grows 

quite weary 
And plans to leave his wife — aye — do 

her dirt — 
She bids him fond farewell in accents 

cheery, 
Her eyes quite dry, her manner quite 

alert. 
But just supposing this, is rankest 

treason 
To all traditions — for when husbands 

flirt 
There's one thing every movie wife 

agrees on : 
It's time to rise and wave a Rubens 

shirt. 




Treason to the movies is 
punishable by death for the 
first offense; for the second, 
a movie a night for fourteen 
years. Give as the first! 




(Sixty -four t 











qAs wonderful for a quick brilliant polish 
as Cutex is for smooth cuticle 



For years you have known Cutex. You 
have blessed it a thousand times when 
you have been in such a hurry and you 
have just bad to get those neglected nails 
shapely and gleaming. You have adored 
the little manicure sets. You have 
marvelled at the magic of their cake and 
powder polishes. 

Now, after years of fastidious experi- 
ment, Cutex has perfected a wonderful 
new Liquid Polish, 
as splendid for a 
brilliant, lasting 
polish as Cutex is 
^ for giving soft, 
even cuticle. 




This brilliant new polish spreads smooth 
and thin and gives a lasting rosy lustre. 
Even a -week's dishwashing leaves it 
gleaming and unbroken 




No separate remover is needed. 
Just use a touch of the polish itself 
and ivipe off each nail 



In every particular, this Cutex Liquid 
Polish is ideal. It spreads smooth and 
thin. It dries almost instantly into such 
a lovely gleaming smoothness. It never 
leaves ridges or brush marks and it would 
never think of cracking or peeling off. 
You will be simply delighted with its 
dainty rose lustre that lasts for a whole 
week. No matter how incessantly you 
use your hands, your nails will keep their 
smooth unbroken brilliance. Even water 
does not dim the lustre 

No bother of a separate 
polish remover 

And finally here is just another new 
convenience. You need never have the 
bother of a separate remover to take off 
the old polish. Just a touch of the polish 
itself wiped off while it is still wet will 
leave the nail absolutely free of the old 
polish and ready for the new application. 
Cutex Liquid Polish, just like all the 
other Cutex preparations, is 35c separately. 
Or ask for the sets in which it comes. 
Sets are from 60c to $3.00. 




Special Introductory Set that includes 
the new polish —only 12c 
Send 12c in stamps or coin with the coupon below 
for a special Introductory Set that contains trial sizes 
of Cutex Cuticle R err.over, Lquid and Powder Polish, 
Cuticle Cream i Cuticle Comfort), emery board and 
orange stick. Address Northam Warren, 114 West 
17th St., New York, or if you live in Canada, 
Dept. N-o, 200 Mountain St., Montreal, Can. 




MAIL THIS COUPON WITH lie TODAY 



Polish 



Northam War REN, IX-pt 

114 West 17th St, New York 

I enclose 12c in stamps or coin for new Introductory Set that 
includes a trial size of the Cutex L.quid Polish. 



Name 

Street 

(or P. O. Box) 

City 



State 



s ***>-Jn, Pj 



Their Crowning 
Glory 







Above: Mabel 
Normand's fa- 
mous curls are 
arranged for her. 
It is said that this 
is the only time 
Mabel will sit 
still for more 
than five minutes. 
Left: Agnes 
Ayres has her 
coiffure retouch- 
ed, so to speak, 
before she goes 
on the set. This 
colored woman, 
whose name has 
escaped us, "does" 
the hair of at 
least half the ci- 
nemese in Holly- 
wood 



(Sixty-six) 




YOUNG WIFE MUST MAKE 
THIS DECISION 



IV hat will her face be in one- 
in five -in ten years' time? 

NEW surroundings —new responsibilities — new adjustments 
to life. And with all these a new loveliness in her face. 
Yet m .1 tew vears it has gone! What has become or it? 

Should she have trusted this loveliness to keep on renewing 
itself through the strain of her new responsibilities? Did she 
allow the soft brilliance of her clear skin to grow dull — its 
smoothness to be marred by little roughnesses? So many girls 
lose this young freshness in the first few years of marriage. 

But today they know that this loveliness must be guarded, 
that it will be lost unless the right ore be given. 

Many a wife has learned that she can keep her skin supple 
and lovely by giving it regularly the two fundamental things 
it needs to keep it young — a perfect cleansing at night and n 
delicate freshening and protection for the day. And she has 
learned that the Pond's Method of two creams based on these 
two essentials of her skin, brings more wonderful results than 
any other. 

Two Creams each different — each marvelous 
in its effect on her skin 

Two Creams she would not give up for any others in the 
world! First the exquisite cleansing of Pond's Cold Cream 
that leaves her skin so delightfully fresh, so luxuriously soft. 
Then the instant freshening she adores with Pond's Vanishing 
Cream and its careful protection that she has learned prevents 
coarsening. These two creams keep for her the smoothness of 
texture and that particular fresh transparency that she wants to 
be her charm ten years from now as it is today. 

DECIDE TO USE THIS FAMOUS METHOD 
Keep your skin charmingly young — for years 

Do this tonight. With the finger tips apply Pond's Cold 
Cream freely. The very fine oil in it softens your skin and 
penetrates every pore. Let it stay on a minute — now wipe it 
off with a soft cloth. The black that comes off shows you 
how carefully this cream cleanses. Do this twice. Your skin 
looks fresh and is beautifully supple. 

Then in the morning, smooth on Pond's Vanishing Cream 
lightly over your whole face. Now if you wish, rouge — 
powder. How smooth and velvety your face feels to your 
hand. The appearance of your skin and the compliments of 
your friends for as long as you use these Two Creams will prove 
to you how wonderful they keep your skin. Begin tonight to 
use Pond's Two Creams regularly — buy both creams in anv 
drug or department store. The Pond's Extract Company. 



*- 










Pholo by Leiarru A Hitter Studttx 



^ 






Every skin needs these 
Two Creams Pond's 
Cold Cream for 
cleansing. Pond's Van- 
ishing Cream to pro- 
tect and to hold the 
pan der 




Ponds 

COLD 
CREAM 



GENEROUS TUBES— MAIL COUPON WITH 10c TODAY 

The Pond's Extract Co., 132T Hudson St., New York 

Ten cents Ooc) is enclosed for your special introductory tubes of the two 
creams every normal skin needs — enough of each cream for two weeks* ordinary 
toilet uses. 

Name 

Street ....... 

On Siair 



(Sixty-seven) 



- 



Two Down, And One to Go 





Milton Sills as Roy Glennister, and Noah Beery as McNamara, stage a pretty fight in 
"The Spoilers." This is an example of the terrific reality of the modern motion picture. 
No more doubles, no more fakes to mar the illusion of real people doing real things 




(Sixty rtplit i 



Keeping your 

child's hair ^ 
beautiful ^ 



li hat a mother can do to keep 
her child 's hair healthy —fine, soft 
and silky — bright, fresh-looking 
and luxuriant 



THE beauty of your child's hair depends 
upon you, upon the care you give it. 

Shampooing it properly is the mosl im- 
portant thing. 

It is the shampooing which brings out all 
the real life and lustre, the natural wave and 
color, and makes the hair soft, fresh and 
luxuriant. 

While children's hair must have frequent 
and regular washing to keep it beautiful, their 
fine, young hair and tender scalps cannot 
stand the harsh effect of ordinary soaps. The 
free alkali in ordinary soaps soon dries the 
scalp, make-; the hair brittle and ruin- it. 

That is why discriminating mothers, every- 
where, new u-e Mulsified cocoanut oil sham- 
poo. This clear, pure, and entirely greaseless 
product cannot possibly injure, and it does 

not dr\ the scalp or make the hair brittle, no 
matter how often you use it. 

When oily, dry or dull 

li your child's hair is too oily, or too dry; 
il it is dull and heavy, lifeless, stiff and gum- 
my; if the strands cling together, and it feds 
harsh and disagreeable to the touch: or if 




dandruff is accumulating, it im- 
proper shampooing. 

You will be delighted to see how easy it is 
to keep your child's hair looking beautiful. 

when you use Mulsified cocoanut oil shampoo. 
The quick, easy way 

Two or three teaspoonfuls of Mulsified in a 
CUp or glass with a little warm water is suf- 
ficient to cleanse the hair and scalp thoroughly. 

Simply pour the Mulsified evenl) over the 
hair and rub it in. It makes an abundance of 
rich, creamy lather, which rinses out quickly 
and easily, removing ever) particle of dust, dirt, 
dandruff and excess oil the chief causes of 
all hair troubles. 

After a Mulsified shampoo you will find the 
hair will dry quickly and evenly and have 
the appearance of In'ing much thicker and 
heavier than it really is. It keeps (he scalp 
-oft and healthy, the hair fine and silky, 
In ight, fresh-looking and fluff) . wavy and i >-\ 
to manage. 

You can get Mulsified at an) drug store or 
toilet goods counter, anywhere in the world. 
A bounce bottle should last for months 









Sf>Irnii:~ ■ i 

/ •■ 



Mulsified 

R S O U - B . ^ AT O * w ■ 

Cocoanut Oil Shampoo 




'Sixty-nine) 



\lbe Movie Lhc^clopdedi 




The Ol' Lady. — No, I remember your letter well. I wish 
you could have had a dictagraph in my office when I read 
your letter. You would have heard some nice things. So you 
dont think the falcon in "Robin Hood" should have had a bonnet 
on. Maybe you're right. I agree with you on the second, but 
you want to calm down to low speed on your third. Yes, Arline 
Pretty is. Thanks, and do come again. 

Ginger.— Thanks for your valuable hints on how to economize. 
What we all want however is some hints on how to live without 
economizing. About Herbert Rawlinson — he was born in England 
and is not married now. Vincent Coleman is married. Baby 
Peggy's parents are alive and she is playing in Universal's 
"Editha's Burglar." 

Joe C. — Welcome, since this is your first letter to me. Betty 
Compson is at present in Europe playing in pictures. Gloria 
Swanson is not married now. Thanks, and come again. 

Reggie. — Yes, Reggie is a cute name as you say, but what is 
the rest of it? 

Ramon Novarro Fan. — You are a wonder. Most girls would 
rather admit that they are thirty than to admit that they snore. 
His real name is Ramon Sammanyagos. Address him at the 
Metro Studios, 1025 Lillian Way, Los Angeles, Cal. 

Galee. — I cant say that I agree with you. I prefer feasting to 
fasting. Ask Edward our office boy. He knows. Thanks for the 
information. Constance Talmadge is five feet five. Well I am 
glad you dont think I am a woman. 

Pauline B. — So you are in love : Whew ! Love is like hash, 
you never can tell what you are likely to find in it. Yes, the 
Valentines are touring at this writing. No, "Footlights" is one 
play, and "Footlights and Shadows" another. Yes, Richard Bar- 
thelmcss is quite in love with his baby. 

John Z. — You mustn't mind that. A woman is built to worry 
about somebody's staying out late at night, and if it isn't a man, 
it's the hired girl, or the cat. Thanks, that was Jack Mower 
as the policeman in "Manslaughter." My error, please forgive. 
Cullen Landis and Helene Chadwick are married, but not to each 
other. Thomas Meighan at the Famous Players Studio, 
Astoria, L. I. 

E. F. L. — Thanks — you say that you know Malcolm McGregor 
is married and has a daughter three or four years old. 

Dolly Bubbles. — Thanks for the violet. It doesn't .require 
nerve to write to me. Thomas Meighan in "The Ne'er Do Well" 
and "Homeward Bound." Marie Walcamp is not playing now. 
Yes, Leatrice Joy is 24. No but Juanita Hanson expects to go 
on . the stage. Thomas Meighan was born in Pittsburgh. In 
January — the fifth. Yes indeed, to your P. S. 

Freckles. — The trouble is, many people when they get married,- 
quit being friends. Here goes — Jack Holt is married and has 
three children. Playing in "A Gentleman of Leisure" for Famous 
Players. 

Temperamental Sixteen. — I suppose the reason that so many 
people tell me their troubles is because they haven't anybody 
else to tell them to. Misery loves 
company, but company does not love 
misery. No, Kenneth Harlan is 
not married yet. Flo Hart was his 
first wife. Gloria Swanson is 
twenty-six. Lewis Stone is mar- 
ried and Viola Dana was born in 
Brooklyn. So long. 

Mavis M. — You seem to have 
more respect for the opinions of 
our ancestors than I have. Since 
they came first, are they not the 
younger, and therefore the less ex- 
perienced. Yes, you were right. Ken- 
neth Harlan and Florence Vidor are 
playing in "The Virginian." You have 
the same favorites I have. Righto ! 



This department is for information of general interest- 
only. Those v/ho desire answers by mail, or a list of- 
film manufacturers, with addresses, must enclose a 
stamped, self-addressed envelope. Address all in- 
quiries: The Answer Man, Classic, Brewster Buil 
ings, Brooklyn, N. Y. Use separate sheets for matters 
intended for other departments of this magazine. Each 
inquiry must contain the correct name and address 
of the inquirer at the end of the letter, which will not 
be printed. At the top of the letter write the name 
you wish to appear, also the name of the magazine you 
wish your inquiry to appear in. Those desiring imme- 
diate replies or information requiring research, should 
enclose additional stamp or other small fee; otherwise 
all inquiries must wait their turn. Let us hear from you. 



Betty Marie. — I am not so good as you think I am. I have 
many vices, but my principal vice is advice. Kenneth Harlan 
has been married once. That was Lloyd Hughes. 

Fanny H. — Very few companies are buying original ^rripts 
these days. You want to write a stage play in order to make 
money in the movies. About two hundred words to a reel. 

Tinker Bob. — I dont mind answering questions, but when I 
am asked such questions as What is the secret of life — that 
ignis fatuus of the scientists of all ages, and about the atomic 
theory in reference to ether, and about the adequacy or inade- 
quacy of vaccine, about the physical basis of solar chemistry, 
about the immortality of the soul, about the theory of the cloud 
belts of Jupiter and Saturn being raised by the sun's heat, about 
the single authorship of the Iliad, and so on, I must reluctantly 
and humbly say, "I pass." You want more of Pat and Micky 
Moore. Just a little — more ! 

Y. Y. U. R. — Glad you liked the music. Even a hand-organ 
sounds good to a person in love. So you dont think I am as old 
as I say, my answers are too peppy. I sprinkle them with cayenne 
you know. Claire Windsor in "The Acquittal" with Norman 
Kerry and Richard Travers. 

Ruddy's Friend. — He's got plenty of them too. You know 
that there was a disagreement in his contract which forbids Val- 
entino from playing in any other company but Famous Players 
for almost two years. 

Hilary T. — Well, in the long run you will find that it is much 
cheaper to learn from other people's experiences than to let them 
learn from yours. Casson Ferguson is no relation to Elsie Fer- 
guson. At this writing the Bushmans are traveling, but mail 
will reach them at the Hotel Majestic, New York City. 

Marie C. — So you have heard a lot about Henry VIII, but 
you want to know more. Did you know that he applied unsuccess- 
fully to the Pope for a divorce from Catherine of Aragon, his 
wife; so he had himself declared head of the church; married 
Anne Boleyn after the convocations of York and Canterbury had 
declared his marriage with Catherine invalid. He had Anne Boleyn 
executed in 1536 and married Jane Seymour ten days after the 
execution; in 1538 he was excommunicated by the Pope. His third 
wife having died in 1537, he married Anne of Cleves in 1540; was 
divorced from her the same year and married Catherine Howard, 
who was executed on a charge of adultery in 1542, and married 
Catherine Parr in 1543 and she survived him. Not such a dull 
life. What ! Well I am glad you received Ramon Novarro's 
picture. Now I suppose you are happy. Thanks. 

Patricia P. — Joseph Striker was Jacques in "The Woman in 
Chains." 

Marilyn C. — I dont see how they can keep up your spirits 
by preventing us from putting them down. Kenneth Harlan is 
twenty-eight. No, I am not married. Single blessedness for 
mine. 

Margaret R— But they do say that when Hope Hampton 
arrived in California three of the four Warner Brothers were 

at the train to meet her and she was 
presented with a $3,000 automobile 
which came as a total surprise. 
Aren't some people lucky? Lloyd 
Hughes is married to Gloria Hope. 
More Hope. 

Forget-me-not. — Why "Robin 
Hood" was the hero of a group of 
old English ballads ; represented as 
an outlaw and a robber, but of a 
gallant and generous nature, whose 
familiar haunts are the forests of 
Sherwood and Barnsdale, where he 
fleets the time carelessly in the 
merry greenwood. There is no evi- 
dence that "Robin Hood" was ever 
(Continued on page 73) 



(Scventx) 



A 



A Twin Complexion Treatment 



II is hnrd to think of the ran and 
the wind aa injurious influences; 
\ct to the delicate -km o! the refined 
woman neither is an unmixed blessing. 
Both sunburn and windburn are 
drying, roughening, and coarsening to 
the complexion; while the dust that ac- 
companies « m. I tends to clog the pores. 
Pompeian Day Cream is ;i harmless 
preparation ol exquisite fineness made 
to protect the skin during the activi- 
t the day from exposure to the 
elements. 

"N^ot Entirely Oilless 

Unlike some "disappearing" creams, 

Pompeian Day Cream is not entirely 
oilless; on the contrary, it contains 
just sufficient oil to make it desirable 
for naturally dry as well as tor normal 
or oily skins, and to offset the drying 
effects of' sun and wind. 




Restoration by Sight, » ith Pompeian Night Cream 

To all appearances Pompeian Day 
Cream vanishes upon application; it 
actually leaves an invisible film on the 
skin which serves as a protection against 
weather; furthermore, this soft, dull 
film eliminates and prevents shine and 
makes a powder foundation to which 
Pompeian Beauty Powder will adhere 
evenly and smoothly for a long time. 

The sleeping hours may be made a 
period of benefit or of harm to the 

Pompeian Night Cream (Ne« siylejir)6cc/>fr_/<2r 

Pompeian Day Cream 6oc per jar 

Pompeian Fragrance 25c a can 




Protection by '■Day, with '■Pompeian 'Day Cream 

complexion, according to whether the 
skin is properly prepared for natural 
restoration or carelessly left to the 
heavy hand of time. 

It a woman retires with her pores 
filled with the dust and grime of the 
day, with her skin dried and rough- 
ened, wrinkled by mental concentra- 
tion or worry, then the night hours 
will serve to perpetuate these faults. 

How to Keep the Skin in Condition 

But if she will follow the simple 
night treatment recommended she can 
clear the pores, soften and soothe the 
skin, relax the facial muscles, subdue 
the wrinkles, and nourish the under- 
lying tissues. 

First, a cleansing with Pompeian 
Night Cream, then a second applica- 
tion gently smoothed into the pores, 
and she is ready to let the great re- 
storer, "balmy sleep," repair the rav- 
ages of the day. 

The Twin Treatment 

The twin complexion treatment of 
Pompeian Day Cream and Pompeian 
Night Cream provides the two essen- 
tials of day-time protection and night- 
time restoration. If faithfully used, 
these two preparations alone will en- 
able any woman to greatly prolong 
her hold on a youthful complexion. 

Pompeian Beaity Powder. . . 60c per box 
Pompeian Bloom (the rouge). . .60c per box 
Pompeian Lip Stick 35c each 



SMary "Pickford 'Panel and Samples 

fend tkr coupon u ith ten cenli for leautilul next roil Pompeian Art Pane! ol Mart Piciford. With 
this ranel ae lend sample! of Pompeian Nighl Cream, Day Cream, Beauty Ponder, and Bloom. 

Pompeian Laboratories, 2128 Payne Avenue, Cleveland, Ohio 

Alio Made in Canada 

poMpeiar) 

(ream 



Tour Skin &*(tedj 

S f)ti iii I '( \n\' in the Autumn 

ImE. JlANNITTt 

mlc .1 woman is In her l.rst hrulth 
with the beginning >>i the autumn* 

Mil t how about her skin } 

!• rci|ucntly she is aware th.it she 
has been negligent in her tare of it 
during the l.i/y months of summer. 

I have said it before, and I will con- 
tinue 10 say, " Consistency \tlhe virtue 
in caring for your skin." You are 
nourishing its tissues; and it is very 
like your body — you can't cat a sur- 
feit of good food for a week and then 
forget to eat for the week that follows! 
Yet you do this when you use com- 
plexion creams only part 0/ the lime. 

*At CKjght — 

Soup and water is the habitual way of 
most women in cleansing the skin; hut 
Pompeian Night Cream is, in many cases, 
more thoroughly cleansing. 

Pompeian Night Cream may be used as 
lavishly as the individual user desires; 
there is no such thing as using too much, 
but enough should be used to cover every 
part and feature of the face, as well as the 
neck and the arms, if they too would be 
kept in beautiful condition. 

I do not advise too much rubbing and 
massaging — just enough to thoroughly 
distribute the cream. When you remove 
it with a soft cloth, all dirt and dinginess 
is also removed, leaving your skin soft 
and smooth and lovely to the touch. 

In the -Scorning — 
In the morning you will find that the 
night treatment has prepared your skin 
to gratefully accept an application of 
Pompeian Day Cream. This is a founda- 
tion cream for the day's powder and rouge, 
and it is a protection to the skin as well. 

Then the 'Powder — 

If the autumn finds the skin still some- 
what darker than usual, you should use a 
darker tint of powder than you custom- 
arily do. Pompeian Beauty Powder in the 
Rachel tint may be used on naturally fair 
complexions until care has restored their 
own delicate pinks and white tones, when 
one may again use the White or Flesh 
shades. 

Cover the face and neck well with the 
powder, and then dust it off lightly and 
evenly, moistening the eyebrows, eye- 
lashes, and lips to remove any traces of 
powder from them. 



i 



LQau^M- 



Specialiste en Beaute 
TEAR OFF, SIGN, AND SEND 



POMPEIAN LABORATORIES 

:i;8 Payne Avenue, Cleveland, Ohio 

Gentlemen: I enclose 10c (a dime preferred) for 1923 
Art Panel of Miry Pickfurd and the four samples 
named in offer. 

Name 



e 1923. The Pomt>ei«n ft 



Address. 

Citv 



.State- 



Flesh shade powder »ent unlets jew srrlte another below 



(Seventy-one) 



SEM-PMY 
J0-WN6Y 



Sempre 
Giovine 



eanmL 



|gf Tl«rVJ< 



6oc 
Oh, Youth! Tender as the 
blush of early dawn and 
fresh as the sparkling dew! 
What can I do to preserve 
thee! This longing finds 
echo in every human heart. * 

Youth is not merely a 
matter of years — for the old 
may look young and the 
young may look old. A fine, 
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youth to the appearance. 
Keep your complexion 
"always young" with Sem- 
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oA Smooth Satiny Skin 

results from the use of this 
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It cleanses — nourishes — 
beautifies — rids the pores 
entirely of dust and black- 
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produces a smoothness as 
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Prove to yourself that such a 
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Exquisiticely 
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A Powder 
Foundation 



Natural 
Health Tints 



The Hollywood Boulevardier Chats 



(Continued from page 62) 



long, opened July 2 in Los Angeles. 
It is a grand affair in honor of the 
Centennial of the Monroe Doctrine. 
It isn't clear just what the Monroe 
Doctrine had to do with the motion 
picture industry. But anyhow the 
United States Government was suffi- 
ciently impressed to issue special 
souvenir half dollars. 



Bill Hart, who has gone thru a 
long cruel experience with his domes- 
tic trials and tribulations, has decided 
to return to the business of making 
motion pictures. He is to begin at 
once at the Lasky studio. 



A terrible rumor has it that Jane 
Cowl intends to film "Juliet" when 
she comes to the Coast with her 
dramatic company. All this will do 
will be to drive two young ladies to 
the brink of suicide. Both Norma 
Talmadge and Mary Pick ford hanker 
and yearn to play Juliet on the screen 
sometime. Norma wants to wait un- 
til she can get Valentino as Romeo ; 
Mary's difficulty is that she cant per- 
suade Doug to play Romeo. She 
realizes that it would be taking a long 
box-office chance to film Shakespeare ; 
a handicap which would be overcome 
if Douglas and she were to appear to- 
gether. + + + 

One of the most interesting open- 
ings ever held in Hollywood took 



place at the Writers' Club the other 
night when "The Talisman," the 
first production of the Associated 
Authors, was shown. It is practi- 
cally a sequel of "Robin Hood," tak- 
ing up the adventures of Richard the 
Lion Hearted after Robin Hood 
turned back to England. The audi- 
ence was thrilled when the King re- 
ferred feelingly on the screen to the 
"Earl of Huntingdon whom I treated 
unjustly" and a piece of the real 
"Robin Hood" film flashed on, with 
Doug and all the rest of it. 



Charlotte Merriam, one of the 
newest invaders of Hollywood, was 
an army girl ; born in Fort Sheridan. 
Her father is Col. Henry Clay 
Merriam, commanding officer at Fort 
Preble. She shoots and rides and 
swims. On a recent location tour in 
Inyo county where she was making 
exteriors for "The Huntress," 
Colleen Moore and Snitz Edward- 
collaborated on a barbecue for fort) 
Indians who worked in the piece. 

* * * 

Charlie Chaplin has settled the 
question which has been agitating the 
public mind. He is not going to re- 
tire. After he finishes the cutting of 
"Public Opinion," the dark and 
tragic play which he has been direct- 
ing, he will take a vacation ; then be- 
gin work on a five-reel comedy. 
(Continued on page 74) 



A kiss in the movies by Corinne Griffith and Frank Mayo. It is from 
"Six Days," but six days for this sort of thing isn't nearly long enough 




\S event y-two) 



_ 



The Movie Encyclopaedia 

•Iiiiui'iI from pOQt 70) 

more than a mere creation of the popu- 
imagination \\ hj . I onwaj rearh 
is five feet eleven and Bett) Blythe five 
ulfic Rowland had ■ itnall 
part in "Vanitj Fair." Lionel Barrytnori 
after "Eyes rhal Wont See" expecti to 
return to the stage under Bell 

Irish.— You say you want interviews 
with Richard Dix, «. > >nr;ul Nagel and 
Thomas Meighan. I'll speak 
ibeth Brad) about that. 

lood morning glorj ' I 
\ou arc here again. Welcome to our city. 
iys glad to see your name at tb 
sheet, for then I am sure to r< -ad 
some sensible questions and comments I 
agree with you about "Glimpses of the 
Moon." So Ramon Novarro is your 
Crane Wilbur of old. Write me 
again. 

Rosalie. — The best benevolence is that 
which comes from hidden sources. I 
thank you. We published a list of the 
studio addresses recently. You want 
Norma Talmadge on the cover. How do 
von like this one ': 

Ritii K.— Yes, I live alone. Many of 
our great men. including myself, lived 
alone, or were addicted to seclusions, in- 
eluding Swift, Goethe, Shakespeare and 
Thoreau. Yes, Ruth Roland is thirty-one 
and has hazel eyes. Norma Talmadge 
twenty -eight and brown eyes. Bert Lytell 
is married to Evelyn Vaughn. Harrison 
Ford has brown c 

H. B. — Address William Farnum at Fox 
Studios. Los Angeles, Cal. 

Blue Eyes. -Thanks for the new name 
you give me — multum in parvo. I hope 
that as time goes on it will be more in 
little, and finally much in more. Tom Mix 
ih Fox His last picture was "Tem- 
pered Steel." Warner Baxter in "If I 
were Queen." Yes, "The Remittance 
Woman." Dont mention it. 

Desdemona. — -Since you insist upon 
knowing, my beard turned grey before the 
hair on my head. Altho the former was 
about thirty years younger. I suppose it 
was because I worked my jaws more than 
my brains. Xo, I dont happen to know 
what Pearl White's mother's name is or 
was. Is it any wonder my head is bald ? 
Bebc Daniels is with Famous Players. 

Doug. Mcl. — Sobiet ! Yes. Lionel Bar- 
rymore is now married to Irene Fenwick, 
the stage star, and Doris Rankin, his for- 
mer wife, is now married again. Just a 
case of no time lost. H. B. Walthall and 
Alice Lake in "The Unknown Purple." 

S kshin'E. -Well, I presume one would 
say Oxford ties. Norma Talmadge is do- 
ing "Dust of Desire." Ernest Truex and 
Florence Eldridge in "Six Cylinder Love" 
for Fox. 

Mary Lee. — I cant say that I admire 
those new fashions. It has always been 
a mystery to me why women's legs dont 
Ket cold in winter. Creighton Hale is play- 
ing in "Broken Hearts of Broadwav" and 
Trilby." 

Blythe I.— Well, I advise you not to 
marry for money unless you want to trade 
your liberty for a golden collar that will 
always be Uncomfortable. You want to 
see Jack Gilbert, Tom Mix and Carol 
Dempster in the gallery. They will all 
appear in due time. 

Yvonne. — The female of the species 
usually write longer letters. So vou are 
going back to college. Good for you. 
W ish I could go too. There is so much 
to know. Even at eighty I dont know it 
all. Vou want to see more of Pauline 
Garon and Mae Murray. Cheer up. 
Better times coming. 

(Continued on page 79) 



Enjoij thirst- 




At a cool and cheerful 
place, he rules with a 
smile of welcome. He's 
quick with his hands and 
quick with his thought.and 
he knows how to serve just 
what you want~ when you 
come in all thirsty and hot. 

Drink 




Delicious and Refreshind 



The Coca-Cola Company 
Atl/intA , Ca 



5* 






(Seventy-three) 




The Most 

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in the World 

CT)1EQER'S FLOWER DROPS 
_/ 1 T are unlike anything you have 
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The regular price Is $15.00 an ounce, but for 20c 
you can obtain a miniature bottle of thi» 
perfume, the most precious in the world. When 
the sample comes you will be delighted to find 
that you can use it withoutextravagance. It Is 
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Sample 



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Other Offers 

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PE R FTS/^EA^ TOIL£ 

RowotDi 

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Enclosed find 20c for which please send me 

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^25$^ 




The Hollywood Boulevardier Chats 



(Continued from page 72) 



I have given up guessing about this 
romance stuff, but anyhow Charlie is 
building a new house at Beverly Hills 
and Pola is helping to pick out the 
furniture. You can make whatever 
you choose out of that. 



I dont know what name will be on 
the screen as purported the author of 
Jack Pick ford's new story of the 
Kentucky mountains ; but I can tell 
you who really wrote it : Sister Mary. 
It seems that Jac"k could not find a 
story, so Mary, between whiles of her 
own production, "The Street Singer," 
just licked the end of her pencil and 



thought deeply and — well, there's the 
story. 



Little Beth Milford. who is to play 
the leads in H. C. Witwer's "Fight- 
ing Blood" stories, stepped out of the 
Music Box Revue to play the part. 
She cherishes a note as a farewell 
souvenir. It seems that one night she 
received a note from Frances Starr, 
who was sitting in a box, asking her 
if she would not pose for a painting 
for Miss Starr's husband, Haskell 
Coffin. She did so and it led to a pic- 
ture contract. 

(Continued on page 85) 



Photograph by John Ellis 



At the top 
of the page 
is one of 
the many 
beau tiful 
scenes from 
"The Girl 
of the Gold- 
en West" 







"Big Tree," 
a full- 
blooded 
Apache 
Indian, ap- 
pearing in 
R e ginald 
B a r k e r's 
"The Mas- 
ter Woman" 



(Seventy-four) 









How the One Natural Color for Cheeks Was Found 



'Day and Night Tests That Told Why%ouge's 
Familiar Shade Was Wrong — and Eventually 
Duplicated Nature's Own Color ,,,... 



MOST WOMKN 
now know and 
use the now natural 
tint which is fast re- 
placing the unscien- 
tilicandunsatisfactory 
purplish-red rouges. 
But how many are 
awareof thepeculiarly 
interesting story of its 
discovery? 

We are apt to take 
the most marvelous 
discoveries of this age 
as a matter of fact — ' 
even one of such im- 
portance to the realm 
of beauty as a tint that 
is a perfect match for 
Nature's own artistry ! 
Suddenly science 
gives the world of 
women a tint which 
tinges the cheeks in such a true 
tone as the very strongest sun's 
rays, or the weirdest effects of 
night lighting cannot separate 
from the underlying flesh tone, 
and we accept it without thought 
of how it came to be. 
Yet behind the simple, 
single tint which gives 
any and all complex- 
ions a divine and per- 
fectly natural mantle 
of color is the story of 
man's indomitable 
perseverance — two 
years' ceaseless ex- 
periment — over two 
hundred failures, and 
eventual success. 

The search for the 
perfect tint led a digni- 
fied scientist to a cel- 
lar's depths — and to 
the roof of a city's tall skyscraper. 
Tint after tint — tone upon tone — 
were tried in every conceivable 
light. In noon's glare, atop a high 
roof. In the streets below, where 
the sun's rays filtered through 





'In goon's Glare, Atop a High Roof 

fog and smoke. And in the arti- 
ficial lights of night— trying lights 
in which old-fashioned rouges all 
became the same ghastly, or un- 
lovely purplish red. 
On a patient assistant's cheeks 
shade after shade was 
tried. Some of the 
shades required in- 
gredients from far 
countries— many were 
days in the blending. 
Then, suddenly it 
happened. 



'^Beneath Trying Artificial Light 



The Tint That Was 
Tried In 'Desperation 

One morning the sci- 
entist used in his mor- 
tar one of the rarest 
ingredients in the lab- 
oratory. It was of pe- 
culiar orange hue. 
Scarcely a color to try 
on the cheeks! But he idly applied 
it on his assistant's cheeks — and a 
startling change took place. The 
peculiar orange tint altered in- 
stantly to the true tone of the skin 
beneath! Still doubtful that he 



had found the one key tint for 

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they Inn ried to the n-ot and 
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te t of direct Bunlight '1 li<- 
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ing that appeared .'■ 
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The Girl Who Couldn't 
Stop Crying 

{Continued from page 39) 

When the World War broke out, 
she was dancing with her brother and 
sister in Brussels. There was a 
rumor in the city that the British 
troops were coming to the rescue. 
So they all rushed out to cheer. Only 
they turned out to be Germans in- 
stead. 

German sentries were on every 
street corner and she was to all in- 
tents and purposes a prisoner of war. 
It was no part of her intentions to 
stay cooped up in Brussels however. 
By dodging sentries, she reached a 
railroad station and hid in one of the 
freight cars. In that way she finally 
got to Ghent and from there the Bel- 
gian train men helped her to get to 
Calais. 

She managed to get herself across 
the Channel and found an engage- 
ment in London in a big musical 
comedy in which she made a great hit 
with a specialty dance. She went 
back to Paris and was one of the 
big hits of the Folies Bergere. 

After the war, she made her way, 
dancing all the while, to Australia, 
by way of Canada, arriving in 
Canada just in time to get into the 
Halifax disaster. 

She was dancing in New York 
when Sam Goldwyn saw her and 
persuaded her into pictures. The 
leading man of her first picture was 
Tom Moore who persuaded her into 
matrimony. 

Not very long ago, Moore went to 
London to do a picture and the little 
bride went along. They visited his 
old home in Ireland and then came 
back home to America. The day they 
landed in New York Moore had an 
offer to do a picture there. 

But not for Renee — too cold. She 
came out to the Coast to get warm 
and it proved to be her great oppor- 
tunity. 

Until this Barker picture, her two 
biggest parts were in "The Strangers' 
Banquet" and Fox's "The Strongest." 



DISILLUSION 
By Edward H. Pfeiffer 

I walk thru the darkness 
With silence, my friend. 

I am dreaming of lovers 
And love without end. 

A dark form is pressing 
A woman's bright face. 

A pang of sweet envy — 
I slacken my pace. 

I grope and draw nearer, 

And peer thru the night . 
Tis only a shadow 
Embracing a light! 



(Seventy-six) 



The Genius of Gesl 

>ntinued from page 

sense Rhyme, Fantastic "ifs" 
such ;i- these mighl etch a Joseph 
Schildkraut. 

A young man, t\\ ent) -seven, young 
and beautiful and gifted. A young 
man sought by the world. Yon 
might assume that he would in turn 
seek the world again, dance in it. 
dine with it, make merry with it. 
But he doesn't. He lias never ac- 
cepted a social imitation. He nevei 
dances. He never dines out. When 
he is not on the stage he is in the 
dim and Imok lined room, reading. 
Living, I suppose. Living his own 
life, perhaps, more authentically 
than mosl of us do. He knows ahoul 
six people well. Of these six, three 
are his mother, his father and his 
wife. 

The world, he says, is not inter- 
ested in Joseph Schildkraut, the man. 
But only in The Chevalier and in 
Liliom and in Peer Gynt. The 
men he is on stage and screen. Very 
well, they shall have him as Liliom 
and Peer Gynt. hut Joseph Schild- 
kraut they shall not have. 

He shrinks from "Fame." and asks 
what is it? 

Acting seems futile ... it may 
have heen a mood. If one writes a 
book, or a poem, if one paints a pic- 
ture, one survives. One goes on. 
One is preserved for posterity. But 
an aetor ! A shadow across a screen. 
When an aetor is gone, when his 
little day is done, what remains of 
him? What has he left? Nothing - . 
A name. A memory. Fragile git't- 
to the generations. He struts, the 
aetor. a few slight hours upon the 
Ixiards in other guises than his own, 
and then is gone. 

Posterity is the only reality. The 
only worth-while thing. 

"I should like to he a bank-clerk, 
with children . . . but of course, I 
shall have children. Children are 
what we Ming ahead of us into the 
ages. Children are our immortality." 

\nother curiousness. that he should 
he so lightly touched with Egomania 
as to care so deeply about the To- 
morrows that will not know him, 
save by name. 

Out of the world he knows he has 
picked Beauty and Posterity as the 
final essentials. Beauty of living. 
Beauty of loving. We. the World, 
are afraid of these two. he says. 
Either we bruise them or we turn 
away from them. And Posterity. 
For posterity there should be sur- 
vivals of art, children, symbols of 
immortality. 

Perhaps, he suggested, he hasn't 
had to struggle enough. With him, 




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(Seventy-seven) 



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acting is in part due to heredity, for 
the elder Schildkraut is also an actor 
of enduring worth. And the elder 
Schildkraut didn't wish the young 
Joseph to be an actor. He wanted 
him to be a musician and for years 
he studied music, the violin. . . . 
Once the parental objection was 
overcome, the path was easy of as- 
cent. To have played Richard the 
Second, Liliom and Ibsen's Peer 
Gynt at twenty-seven is to have 
slain most of the Goliaths. Perhaps, 
he said, if he had had to struggle 
harder, had to climb with greater 
difficulty, the rewards would have 
been sweeter and more precious. 

So much for an observation. A 
romantic recluse. An artist more 
than touched with the eccentricity of 
genius. A young man with a beauti- 
ful face and a ringing laughter. With 
a sense, not so much of humor as of 
the grotesque. Living in his book- 
lined room, with the things that have 
been his since childhood. Consider- 
ing Futility and Beauty and Posterity. 



Good and Bad Authorship 

(Continued from page 11) 

prerogative of helping to make good 
pictures out of their literary master- 
pieces. 

This business of making a book or 
j:>lay into a picture is frequently a 
difficult job, requiring much thought 
to translate words into visible action. 
After we writers for the screen have 
spent weeks and weeks trying to keep 
the spirit of the thing which we are 
adapting, it rather gets our goat to 
have authors cry out, without any 
distinction or discrimination, that all 
picture writers are butchers who get 
a savage joy out of mangling their 
works. 

Let them give us better books and 
better plays and we will see what 
happens to the screen. Or, better 
still, let them give up some of their 
valuable time and learn screen tech- 
nique, so that their self-admitted 
creative ability can express itself di- 
rectly in terms of the screen. If they 
are as non-commercial as they admit, 
let them stop writing mediocre plays 
and books and try to learn how to 
write really good pictures. Perhaps 
they can then convert the picture in- 
dustry into an art. 



WHILE THE FOREST SLEEPS . . . 
By Gladys Brace Vilsock 

While the forest sleeps . . . 

The lake is holding the moon in its heart. 

As I am holding you in mine. 

Over the water drowsed with love, 

A white swan drifts, 

Drifts over me, 

And sings its dying sweetness to the moon 

And sings to you. 



(Seventy-eight) 



The Movie Encyclopaedia 

■tinned from /m</.- 

Hot Kissks Send along the pictures. 
\\ ill be glad ti> see thera. 

Anni 1). Will, the reason that I s.,\ 
harsh things sometimes, is because .1 word 
to the unwise is nut sufficient, and l have 
to take .1 club. Ro) Stewart is playing in 
"The Love Brand." You refer to Edward 
Burns Cant give you Norma Talmadge'a 
home address but you can reach her al 
5341 Melrose Avenue, Los Angeles, Cal 

Marion Most of me players write the 
stories themselves. \ great tu.ni> have 
secretaries. You're welcome. 

Lams. Which proves the truth of die 
old Chinese proverb, "First impressions 
rule the mind.' John Bowers is with face 
lohii Barrymore at the I. ami)- Club, 144 
W. 44th St., New York City. Niles Welch 
in "Rags to Riches." All right, send me 
vioKt-- when 1 die. 

Florence K. — Sincerity is all that is 
right and hest. Cant tell you much about 
Harrison Ford. You think he is one of 
the most prominent nun on the screen. 
Yes, he played in "Little Old New York." 

C. G. B. — Yes, the sail wells in 
Onondaga County, New York, near Syra- 
cuse and Salina are a large and important 
industry. Michigan has the largest out- 
put next to New York, and many other 
States produce it to some extent. But 
the home supply is not equal to the de- 
mand, and there is a large annual im- 



portation into the U. 
is not plaj ing now. 

"Rupert of Hentzau. 



S. Xo. June Elvide 
Bryant Washburn in 
Yes, indeed, I al- 



ways did like Alice Joyce. Mary Miles 
M inter is not playing now. Clara Bow 
was last year's winner. Constance Tal- 
madge twenty-three. Dont mention it. 

1 rv Hand ok Oak Lank. — I should 
say not. The Terrvs you mention are not 
related. Alice Terry is five feet two and 
Rex Ingram will probably continue to di- 
rect. There is more money in directing, 
you know. 

A Girl from Ccba— You write a very 
interesting letter. 

Ritii D. — The reason that I answer 
such questions is that one of my functions 
is to assist the inquiring, to animate the 
struggling, and to sympathize with all. 
Irene Castle is five feet seven and weighs 
115 pounds. Auburn hair and grey eyes. 
Address her at Ithaca, N. Y. 

J. Brow nik. — No, Baby Marie Osborne 
is not playing now. 

Ruth. — I'm sorry but I never send out 
pictures of myself. The only picture I 
have is the one up above. Write me again. 

Edna C. — I enjoyed your letter, but it 
was terribly long. Your terminal facilities 
are defective. Mary Pickford was born 
in Canada, and I am not giving out her 
age. What's the difference, she will 
always be our Little Mary, no matter how- 
old she is. She is five feet, has hazel eyes 
and blonde hair. Playing in "The Street 
Singer." Colleen Moore in "April Show- 
ers." 

Marie K— Please dont say to me "May 

your shadow never grow less." I am try- 
ing to reduce. Yes, indeed, Jackie Coogan 
is living with his parents, or maybe they are 
living with him. Yes, I think Valentino 
will come back to pictures. 

Lloyd M. — Sorry, but there is nothing 
I can do for you. 

Eileen.— I haven't heard what Sessue 
Hayakawa intends to do, but I am inclined 
to believe he favors the stage. 

Anti.— Yes, he disappeared, but I dont 
know whether he ran away with a woman, 
p" , ",v! le - Rod LaRocque is not married. 
£earl White has been married to Victor 
Sutherland and Wallace McCutcheon, 
(Continued on page 86) 

(Seventy-niiu) 




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Trilby 



(Continued from page 32) 



breaking the silence, "Remember the 
way Trilby used to sing, all off the 
key? How long ago that seems — 
two years, isn't it ?" 

And — "I wonder whatever became 
of Svengali and his wee bit fiddler," 
the Laird would burr, "that mon was 
almost crazy enough to be a genius, 
and he could sniff a sausage cooking 
three blocks away !" 

One day in a two-month-old news- 
paper they found the name Svengali, 
a Madame Svengali whose voice was 
the musical sensation of the hour. 
"'So," the gushing reporter had 
written, "might the Angel Israfel 
have caroled. The purity of her 
tones is almost unearthly in its sweet- 
ness, melting strong men to tears." 

"Wonder if our friend of the facial 
foliage could have married a great 
singer," Taffy chuckled. "When we 
get back next month we must go to 
hear her. I should like fine to see the 
Laird melted to tears !" 

The Cirque de Bashibazooks was 
crowded when the three friends took 
their places in a box on the first 
night of their return to Paris. Little 
Billie's elbow nudged Taffy's ribs ex- 
citedly as a familiar figure parted the 
curtains at the back of the stage and 
took his place at the piano. The frock 
coat was new, the unkempt beard was 
trimmed, and the long hands that 
swept the keys were somewhat 
cleaner than of yore but there was no 
mistaking Svengali. 

"Who do you suppose " the 

Laird began, but Little Billie had 
leaned suddenly forward, staring 
down at the woman's figure advanc- 
ing toward the footlights. She was 
gowned in a classic robe which fell 
about her majestic figure in statu- 
esque folds. The suggestion of a 
Greek marble was heightened by the 
whiteness of the face under the 
filleted bands of dark hair. She 
stopped in the full center of the stage, 
and Taffy felt a chill sensation at the 
roots of his hair. For one foot was 
advanced beneath the trailing robe, a 
hare white foot in a Greek sandal — 
the most beautiful foot in Paris 

"You see?" Little Billie breathed 
in his ear. His hands were crooked 
around the red velvet railing as tho 
to keep himself in his seat. 

"But it couldn't be," Taffy gasped 
stupidly, "Trilby couldn't sing a note 
and listen to that !" 

From the deeply curving lips that 
they remembered came a stranger 
voice, unearthly pure and clear, its 
fires the cold flames that are prisoned 
in ice floes in unsailed seas, soaring 
effortlessly to the very gates of 



Heaven, falling about their astounded 
cars in a bright rain. 

What she sang they could not re- 
member afterward, only the wonder 
of it, the strange awe. as tho they 
had listened to some celestial visitant. 
For a moment after she had disap- 
peared behind the sweeping velvet 
curtains the audience sat silent still 
held by the spell, then Svengali was 
bowing greasily to a mighty surge of 
applause, but Trilby — or she who 
sang with Trilby's lips did not reap- 
pear. 

Without a word the three rose and 
left the box. Their knock on the 
dressing-room door was answered by 
Svengali, whose face seemed to re- 
treat watchfully into his beard at 
sight of them. 

They stammered incoherently, 
looking beyond his barricading arm 
at Trilby, their Trilby sitting unmov- 
ing in a deep chair with closed eyes. 
For the sake of old times — if they 
might speak to — to Madame Svengali 
and tell her how much they admired 
her singing 

Thus Taffy and the Laird, but 
Little Billie spoke not at all, only 
stared as one at some supernatural 
manifestation. The musician's eyes 
were hostile, the eyes of the cornered 
rat, but his voice was greasy with 
loving kindness. "The gentlemen 
were mistaken, Madame was no one 
they knew. A resemblance, perhaps ? 
But Madame was very tired, before 
she sang again she must rest — if they 
would excuse " 

Little Billie interrupted rudely. 
"D'you suppose I dont know Trilby? 
Dont point your finger at me, you 

fakir " he made a step forward 

as if to. push Svengali aside, "Trilby! 
Dont you remember Little Billie !" 

"Yes, tell the gentleman yourself, 
my dear," the musician said softly. 
He almost purred, little bright eyes 
never moving from the pale face that 
turned toward him at his words, "tell 
the gentleman that he is mistaken in 
thinking he knows you !" 

"You are mistaken — in thinking 
you know me," said the deeply curved 
lips obediently. There was not the 
slightest trace of recognition in the 
gaze she turned upon the three at the 
door, and Taffy began to back away, 
hot with apologies, but Little Billie 
advanced upon Svengali. jaw dan- 
gerous. "She's afraid of you or she 
wouldn't have said that! Let me in 
or I'll come in anyway -" 

"Dog !" panted his ancient enemv, 
and without warning was upon him, 
squealing, kicking, biting, winding 
(Continued on page 82) 



(Eighty) 










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Trilby 



(Continued from page 80) 



the long hands into Little Billie's hair. 
Taffy and the Laird dragged their 
companion away, leaving the little 
Italian panting and dancing; as they 
glanced hack they saw that the wom- 
an still lay in the long chair without 
motion, her eyes gazing away into 
nothingness. 

"We must have made a mistake," 
Taffy burbled uneasily, knowing no 
mistake had been made, "couldn't 
have been she, Trilby couldn't 



figu 



sing- 

Little Billie stared down at the 
empty stage with suffering eyes as a 
strange pianist appeared. Madame 
Svengali — his Trilby, that was all 
that mattered. He alone of the vast 
audience hardly noticed what hap- 
pened as the white-robed figure came 
down to the footlights and began to 
sing again, for he was back in the low 
room at the Passage des Abbesses 
and Trilby was smiling at him from 
the model throne 

It was laughter that aroused him 
from his dream, cruel, derisive. The 
audience was in an uproar, cat-calls 
and hisses sounded shamefully from 
the gallery and Taffy's fingers dug 
into the flesh of his shoulder while 
Taffy's voice sobbed in his ear, 
"God! She's forgotten how to sing! 
She's doing it the way she used to ! 
It's awful and look across there in 
the box yonder. Svengali ! What's 
the matter with him?" 



In the velvet chair opposite, the 
of the music-teacher lay 
sprawled in a strange posture, one 
hand clutching at his breast, but 
Little Billie did not glance at him. 
Hand on the rail he had vaulted 
down onto the stage in time to catch 
Trilby as she fell. 

The story was in the papers the 
next morning under the scare head 
"Death of Svengali from Heart Fail- 
ure in Opera Box Reveals Amaz- 
ing Hypnotic Feat." For two years, 
the story went on to say, the music- 
master had hypnotized his wife so 
that she was able to sing correctly, 
but the moment his power was with- 
drawn only deafening discords came 
from the throat that had enchanted 
the world. Dazed and bewildered by 
the shock of yesterday's fiasco, the 
report went on to say, Madame 
Svengali was seriously ill and doctors 
despaired of her life. 

Little Billie refused to believe the 
doctors. He knelt for hours by the 
bed where Trilby lay and tried to call 
her back from the far places where 
her soul wandered with all the power 
of his love. Sometimes the heavy 
lids unclosed and she smiled vaguely 
at them, but it was only at the very 
last that she spoke. "I should so love 
to — have been happy and had — a 
home — and a little baby. But you 
mustn't spoil — his career — Little 

(Continued on page 95) 



Bombed Into the Movies 

(Continued from page 26) 

are "Without Benefit' of Clergy," 
"Doll's House," "Rubaiyat," "The 
Infidel," "Science or God." "Wheels 
of Fortune," "Is Matrimony a Fail- 
ure?" "Lest We Forget," and most 
recently a Carter de Haven comedy 
called "Christmas." He is now 
working with Jane Novak in a di- 
vorce drama. 

Miss de Lacey admits that his 
name is not a Philippe. She says that 
his first name as a baby was An- 
dreas: further than that she refuses 
to reveal. With engaging frankness 
.she states her reason. She fears that 
some relative might hear of him and 
claim him. So far as she knows, he 
has no relatives left ; but why take 
chances ? Why indeed ! 

Little Philippe has so many moth- 
ers — yet no mother. In every play 
lie has another pretend mother. For 
the purposes of identification, he 
calls them hi-- "screen mammas" 
while Miss De Lacey he calls his 
"regular mamma." 



The Sport of Kings — and 
Movie Stars 

(Continued from page 19) 

inhabited by cannibals, and the party 
set sail heavily armed with rifles, 
revolvers, and machine guns. They 
did not come into combat with the 
cannibals, but they nearly lost their 
lives in the terrific storms. 

Then there is the thrill of the big 
race. John Bowers has his schooner 
Uncas in the great international race 
that will be held this summer from 
the Santa Barbara Yacht Club to 
Honolulu. 

And Allan Hale is building a 
speedboat which he expects will cap- 
ture the motor races at Los Angeles. 

Aye, verily, the sport of kings — 
and movie stars. 



SQUARING THE TRIANGLE 
By Mary Carolyx Davies 

Look with what wisdom you can bring, 
At -hers and yours, and my angle. 

Squaring the circle's an easy thing, 
But who can square the triangle ? 



(Eighty-two) 



How the Motion Picture H;i^ 
Influenced Young Peru 

ntinued from page 22) 

As a result, the Peruvian woman 
has now not onlj changed her man- 
ner of dressing and is reforming her 
figure by a lesser indulgence in 
sweets, but she goes in for sporl a'nd 
Bport clothes. "Esport" they call it 
(low n there. 

The languorous-eyed, black-gowned 
Peruvian woman lias emerged from 
behind the carved gratings of her 
balcony from which, ever since the 
days of the "conquistadores," she 
viewed the world and is now to be 
seen in suitable sport dross, or walk- 
ing costume on the golf links or city 
streets. 

With this change of dress has 
come a freedom of action, that was 
undreamed oi a generation ago. In 
the films perfectly nice girls talk to 

men alone. That was an eye-opener 
for the Peruvian girl and her chap- 
eron. It had been the custom oi the 
country for a young girl never to be 
allowed to remain in a room alone 
with a man. Also "ladies" are shown 
in American dims as working. Often 
they do their own housework, or 
earn their own living. This is some- 
thing that no Peruvian lady could 
do. A Peruvian girl, no matter how 
she was. until very recently 
never dreamed it was possible that 
die could support herself, could go 
out and work. It simply wasn't 
done. These antiquated standards 
.".re rapidly changing. 

Another very important effect of 
the moving picture in Peru, is bring- 
ing home to the male population the 
truths of fairness, honesty and play- 
ing the game. 

No Peruvian school teaches ath- 
letic-. There is no such thing as 
interschool games. Hygiene and 
physical fitness as we know them are 
unheard of. Put when a Peruvian 
hoy sees a Douglas Fairbanks film. 
in which physical fitness and fair 
play are the usual themes, it gives 
him something to think about. The 
idea dawns, that standing on the 
>treet corners or in front of cafes 
eyeing the senoritas as they pass, or 
whispering things in their ears, or 
taking dope, or imitating the pasos 
61 the popular matador, is perhaps 
not the only ideal of a well-spent 
youth. 

Sportsmanship is not a South 
American virtue, that is. as we know 
it from the Anglo-Saxon point of 
view. Honesty and good sportsman- 
ship are qualities which the human 
animal is not necessarily endowed 
with, hut they are qualities which 

(Eighty-three) 



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Respectfully yours, 
Louise R. Hammond 

Koester School. 
S14 So. Franklin St.. 
Chicago, III. 
First Hawaiian Conaer. 
vatory of Music, Inc. 
I shall certainly be very 
glad to recommend your 
course whenever the 
chance is mine to do so. 
Mr. W. R. Johnson has 
not phoned me yet, and 
If he does not phone in 
s day or so. will write 
him. Am sending a let' 
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today which I think may 
help to secure her en- 
rollment, and I shall be 
glad at any time to 
write a personal letter 
to anyone whom you 
may suggest. 
Your former student, 
W. L. Walker 



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education lias made almost second 
nature. 

Now to be educated always sounds 
like a tedious process, especially so 
in the tropics where one is less likely 
to be energetic and eager for uplift. 
But thru the sugar-coated medium of 
an exciting movie story these same 
ideals are taking effect. 

The result is evidenced on all sides. 
And not only in Lima but in small 
Indian towns. In the little fishing 
village of Ancon where the cinema 
is shown in a mud hut with wooden 
benches for seats, I have seen the 
audience, which consists of Cholos 
(the Peruvian Indian), get up and 
cheer the bravery of "El Leon de 
Sierra" (The lion of the mountains) 
or the Samson-like feats of Elmo 
Lincoln or Ruth Roland's gallant es- 
capes in "La Hija del Sol." The 
audiences in the smaller towns 
are for the most part illiterate, and 
an elected reader translates the cap- 
tions. So realistic is the story to 
these primitive people that they will 
sometimes throw things at the villain 
and always shout and cheer when 
the heroine escapes. 

Over the summit of the Andes far 
down the other side in the tropical 
Peruvian colony I saw a Mrs. Ver- 
non Castle film. The audience con- 
sisted entirely of Indians. She was 
not popular, as primitive people want 
red-blooded action. This accounts 
for the popularity of the serial 
thriller, featuring such stars as Pearl 
White or Ruth Roland. 

Charlie Chaplin's universality is 
manifest when a Hill man untouched 
by civilization, who has never been 
away from his village and who has 
probably never seen a derby hat and 
doesn't know that a small man in 
large-sized clothes is traditionally 
funny, can yet meet a European or 
North American on the common 
ground of laughter. 



Foreign Films 

(Continued from page 25) 

when a girl of his age with whom he 
often used to play has mysteriously 
disappeared 

The young Holmes will find where 
his friend is. She has been kept in 
the clinic of a mysterious doctor, who 
believes in the theory of restoration 
to youth and who is prepared to be- 
gin the practice himself. The victim 
is the young girl, who, however, is 
finally saved by the courageous 
Bobby. 

If the story is improbable, the act- 
ing is excellent, especially on the part 
of the young actor who promises to 
go very far in his profession. 

(Eighty-four) 



[Tie Hollywood Boulevardiei 
Chats 

ontinued from page ! 

Harold Lloyd has broken up his 
long association with Hal Roach. 
I'liev began producing together when 
they were extra l)oys at the Universal 
and saved up $300 to make a cheap 
comedy. Everything is amicable, bul 
they have decided to dissolve their 
partnership of nine years' standing. 
IJoyd will work at the Hollywood 
Studios am! his future comedies will 
be less given to Minus ami will par- 
take more of the character of 
"Grandma's Boy," which is his 
favorite child. 

* * * 

Natalie Talmadge Keaton is going 

hack to the screen again. Buster, Jr., 
is now a year old and his fond 
mamma will play the leads in his 
Pa's next comedy. 



Lenore Ulric has fallen in love 
witli Hollywood and will return next 
season to film "Kiki." She is now 
making "Tiger Rose." 



COMPARISONS 

By Ellen Rogers 

Love never blooms the same for everyone. 
Bul still it's strange that it should droop 

for you, 
Who takes such care of things! 
Besides, your plant had such a lucid, neat 

beginning : 
A white-walled garden, with a bird's crisp 

singing. 
And feathery cedars brushing sunlight 

thru. 

While mine grew in a neighbor's backyard 

plot— 
Bedraggled, drab enough to be my own. 
With groping peccancy 
I plucked it. soiled my skirts, and took to 

lying. 
And listening blandly to my neighbor's 

Sighing. . . . 
Indecent, isn't it, the way it's grown? 



REBUKE 
By Aida Rodman Dr. Milt 

You speak to me of love — O do you know 
What this would mean to her who hears 

your name. 
Who bore your children and remains the 
same 
True and devoted, ever keen to show 
Your best to strangers, SO where'er you go 
Men deem you worthy of your whilom 

fame? 
And I — if love of you were leaping 
tlame 
Within my breast no hint would I bestow. 

For 1 respect my friend who is your wife: 
The fact that she might never know is 
not 

Inducement to betray her faith in us; 

Speak not again of this, nor soil your life 
So fair in all else with so foul a blot ; 

Forgive my having stirred this impetus ' 



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The Movie Encyclopaedia 

(Continued from page 79) 

hut not at the same time. Jackie Coogan 
horn Oct. 26, 1914. 

Helen. — Yes, send twenty-five cents in 
stamps for the October 1919 issue of the 
Motion Picture Magazine containing the 
story "Male and Female." 

Hope. — Well, love is like hash ; you can 
never tell what you are likely to find in it.' 
Mildred Davis intends to do some more 
honeymooning by going abroad. 

Miss Dorothy. — Where was Magna 
Charta signed? At the bottom. And you 
really intend to go on the stage. There is 
lots of time, why not try to get a little 
more knowledge. When you come to New 
York, look me up. Pola Negri in "The 
Spanish Dancer" with Antonio Moreno, 
Gareth Hughes and Kathlyn Williams. 

Bert Lytell Fan. — You are right, that 
was Barbara La Marr and not Alice Terry 
in "Trifling Women." 

Myrtle L. - — I understand Harrison 
Ford is again the husband of Beatrice 
Prentice. May they never separate. He 
is playing in "Little Old New York." 
Dorothy Mackill in "The Fighting Blade" 
with Richard Barthelmess. Yes, he is five 
feet seven. 

Helen J. — That's right, someone once 
said "Woo the widow whilst she is in 
weeds." Katherine McDonald is twenty- 
eight, and she is married to Arthur John- 
son. Madge Bellamy is nineteen and not 
married. Playing in "Evangeline." 

Clifton. — You just write in for the 
September 1918 and September 1919 
Classics. 

Vivian Van.— It is very probable that 
Job never had to answer questions. You 
want a picture of Gloria Swanson's baby 
in the Classic. Yes, her name is Gloria 
Somborn. Betty Compson twenty-five, and 
John Gilbert in "St. Elmo." You're wel- 
come indeed. 

Two Heap Big Fans. — Do not con- 
found great workers with ordinary plod- 
ders. Bebe Daniels hasn't bobbed hair. 
Just pronounce it Bee Bee. All right, 
send along the custard pie. Wallace Reid 
played in "Joan the Woman" with 
Geraldine Farrar. Fiance is masculine and 
fiancee is feminine. 

Ethel E. D. — Yes, Kenneth Harlan is 
twenty-eight and born in New York City. 
You want to see Charles Meredith in more 
pictures. 

Newberry Maid. — Hello there. Your 
letter was filled with beautiful sentiment. 
Monte Blue was born in Indianapolis and 
you can reach him at Warner Brothers, 
Bronson Avenue and Sunset Boulevard, 
Los Angeles, Cal. Write to me again. 

Frank Mayo Fan. — Pauline Garon is 
five feet and weighs one hundred and five 
pounds. 

Christiane C. — You are entirely in er- 
ror when you say that I snore. I have no 
small vices. Address Richard Barthelmess 
at Inspiration Pictures, 565 Fifth Avenue, 
New York City. Lewis Stone in "The 
River's End." Alice Calhoun, Cullen Lan- 
dis and Percy Marmont in "The Alibi." 

Miss Lois N. — Why Marion Davies 
lives on Riverside Drive, but you can ad- 
dress her at the Cosmopolitan Studio, 2478 
Second Avenue, New York City. 

Chick M. — Oh, but there are beautiful 
flowers that are scentless, and beautiful 
women that are unlovable. Nazimova is 
forty- four and Antonio Moreno has brown 
eyes and hair. Bebe Daniels has blue eyes. 

Houston Bill. — Shake Bill. Glad to 
see you. Madge Bellamy is only nineteen 
and Patsy Ruth Miller is also nineteen. 
Clara Horton is twenty. Tom Mix is 



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(Eighty-six) 





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(Eighty-seven) 



jila> ing in "Soft Bofli d* ' '■" l 

Pit l.l. Mil I .iitli.ml. ' . i ..ml 

Will' 

I lorn G N > . I know jrou ■<• ■ 
woman, when you think, you mi 

\l.i\ AlliMiti ia Ii.h k t.. . .it ili, .Hi- 1 ' 
married t" Robert Ellis. No, nn beard 
doesn't give m<' much trouble, the onh 
time it «1< >< -^ ia when I eat ...m on 1 1 1« - cob 
in watermelon. 

I.i i ii i ( . in. - \ \ with 

Famous Players, 1520 Vine Street, La 
: . , i al, 

Eva. Yes, I should have answered you, 
lint you * I « iiit seem to realize all ili<- quea 
limis 1 receive. Why donl you wril 
Mi>s Brady, s l' t will be glad to hear from 
you. Paul Willis is not playing now. 
Hasn't been for some time. All right, I'll 
try i" straighten you out on the M 
brothers. Tom was married to Alice 
Joyce, but is now married to Renee 
Adoree. Owen was married to Mary 
Pickford, Inn is married i<> Kathryn 
lYi i > now. Joe was married to Grace 
Cunard and Matt is not married. Oh yes, 
there really is nothing finer in music than 
the opera "Samson and Delilah." You 
want to know what Taniar Lane is? Well, 
iii my estimation he is a very good looking 
young chap. Stud me your picture in that 
dress. So long, little Eva. 

Jeanne.— Thanks a lot. Leatrice Joj 
was born in New Orleans. 

Grky Eyes.- Darkness has its uses; we 
can see farther in the night, for arc not 
the stars nunc distant, than the sun? And 
you dont care for Pola Negri. Claire 
Windsor in "The Eternal Three." Gloria 
Swanson in "Zaza." Rod LaRocque and 
Eddie Burns in "Jazzmania." 

Mrs. J. B. — Always glad to hear from 
the manias. Dont send the twenty-five 
cents to me, you would never see it again. 
Send it direct to the players for their 
pictures. 

KaYE H. — Have passed yours along to 
the editor. 

WlLMA Y. — To a woman, the romances 
she makes are more amusing thtn those 
she reads. Yes, Mahlon Hamilton was 
interviewed in the April 1921 issue of 
the Motion Picture Magazine. Agnes 
Ay res in "The Love Chase." Oh, I dont 
mind answering questions. I turn them 
out by the yard now. 

Madcap. — I can see you are all for 
Gaston Glass. Jack Holt and Sigrid 
Holmquist in "A Gentleman of Leisure." 
Marguerite Courtot in "The Steadfast 
Heart." 

Spark Plug. — Your letter was mighty 
interesting and I wish I could print it. 

Tillie the Toiler. — Thanks for yours. 

Sazzy Susie. — Yes, and Friendship is 
a plant that one must often water. Yes, 
May McAvoy intends to go on the stage 
this fall. Bert Lytell is playing in "The 
Lone Wolf" series, for Cosmopolitan. 
Lillian Gish is two years older than 
Dorothy. Marion Davies with Cosmopoli- 
tan, Jackie Coogan will be nine ; Wallace 
Reid was thirty-one. Gloria Swanson is 
five feet three. Xo, they are not the same. 
Whew] You sure do answer questions, 
dont you. 

Madeline Mary. — My real name you're 
after, is it? Hump! Yes, I like your 
stationery. It is very smart. Chic! Yes, 
you were born the same day that Richard 
Barthelmess web. Eugene O'Brien was 
horn in Denver thirty-nine years ago. Mil- 
ton Sills is married to Gladys Wynn and 
Barbara La Marr married to Jack 
Dougherty. 

Miss Question Mark; Mildred T. : 
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G.; Helen S. : K. H. M.; Helen M.: 
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Flashes From the Eastern Stars 

{Continued from page 51) 

Mensch," by Ernst Teller; an Ameri- 
can play not yet selected, and "Lear," 
with Rudolph Schildkraut. 



Commodore J. Stuart Blackton is 
making preparations for the first of 
the Blackton Productions which will 
he released by Vitagraph. It is un- 
derstood upon good authority that 
Commodore Blackton will produce at 
the Brooklyn studios of Vitagraph 
where he made the Blackton Produc- 
tions which became famous for their 
exceptional artistic as well as box 
office values. 



Charles Dillingham has returned 
from London, Paris, Vienna and 
Budapest with a bundle of new plays 
and novelties for his theaters — the 
best that the market afforded in Eng- 
land and on the Continent. 

"Before buying any foreign play, 
I obtained the famous 'Italian Mari- 
onette Players,' " said Mr. Dilling- 
ham. "These marionettes are a form 
of art which allows of great scope and 
assures the interpretation of the au- 
thor's intentions, only they are not so 
wooden as many of the unionized 
American actors. They are the one 
great novelty of the London season," 
he insisted. "This is a troupe of 
more than five hundred marionettes, 
with a repertoire of some twenty-five 
operas, innumerable burlesques, 
ballets and vaudeville acts. The 
musical settings are by Rossini, 
Csesar Cui, Donizetti, Mazzenet and 
Ottarine Respighi. The Teatro del 
Piccoli is an expressive of the soul of 
Italian art as is the Russian ballet of 
the soul of eastern Europe." 



Sam Wood is seeking a beautiful 
girl, professional or amateur, to play 
the leading role in a new picture 
which he has already started at the 
Paramount Long Island Studio. It's 
getting to be a serious matter with 
him, for he has been searching for 
weeks without being able to find the 
type he wants. He felt he couldn't 
delay production any longer and has 
begun work without her. The role is 
that of Diana Kayne, in a screen 
version of Arthur Train's story, "His 
Children's Children." Two additions 
were made last week to the cast. 
They are Mary Eaton of the Follies 
and Hale Hamilton, star of both 
stage and screen. Mary Eaton will 
be starred in the fall by Flo Ziegfeld. 



Cauliflowered ears have been vy- 
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„ . _. *3 West 72nd Street 
Bet. B'wsyaO ntral Park Weel. New T 

(Eighty-nine) 




i**ii during tin- last few da) ! 
and a ncv\ screen idol maj soon !»<■ 
mm uitecl i rom the pugilistii 
( Cosmopolitan i^ Riming lit Wit 
wer's popular fighl story, "Cain and 
Mabel," featuring Anita Stewart 
The script calls for a boxer a> one 
of the principals, and Casting Dire< 
tor Gnrencc Elmer is devoting his 
entire time t<> interviewing ring gladi- 
ators. Among those who have al 
ready admitted that they are ready to 
take the count in the picture are : Jack 
Britton, ex-welterweight champion; 
George Ward, welterweight 
tender; fohnny Basham, lightweight 
champion of England; Clay Turner, 
the Indian fighter, Danny Frush and 
( rene 1 Jelmont. 



Two masked bandits broke into a 
United States mail train on the Rari- 
tan River Railway two miles beyond 

South Amboy, X. J., last Sunday. 
( )ne of the desperadoes escaped and 

the other is thoughl to have lost hi > 
life in the South River when he 
leaped from the speeding train with a 
mail pouch. A mail clerk dived into 
the river and rescued the mail. The 
attempted robbery was staged under 
the supervision of the United States 
Post Office Department. Colonel 
Paul Henderson. Assistant Postmas- 
ter General, and Major James A. 
Buchanan, chief of the Bureau of In- 
formation, provided the means by 
which to stage the mail robbery. 
They were co-operating with Whit- 
man Bennett, producer of "Loyal 
Lives." a thrilling romance of the un- 
sung heroes who protect the United 
States mail — the postman and the 
railway mail clerk. It will be released 
by Vitagraph and is the first of six 
pictures Mr. Bennett will make for 
them. 



( rlenn Hunter is at work on "Grit." 
his last picture for the Film Guild. 

Clara Bow, one of our Fame and 
Fortune Contest winners, will play 
opposite him. She has signed a con- 
tract with the Film Guild. 



"Success." a play by A. A. Milne, 
will be seen next season with Nor- 
man Trevor in the leading role. 



Herbert Brenon has arrived in 
Xew York to make preparation for 
his next Paramount picture. "The 
Spanish Dancer." with Pola Negri as 
the star. It will be based on the fa- 
mous play "Don Caesar de Bazan. ' 
Mr. Brenon has been visiting art gal- 
leries and museums in Xew York. 
Boston, and Philadelphia, and inter- 
viewing several authorities on the 
Spanish customs and dress of the 
period in which the story is laid. 




EARLE E. LIEDERMAN 
at he It to-day 

Some day 

a little bug 

is going to get you— 

hav. there ai 1 1 • 1 rYiTv.vli. n\ Ttuy ar** 
In the air. In your hx*! ind the • I 
drink. In fart. scientist* t-uy ><nir body b full of 
them. Tin > in only wfaittng for ><>ur vitality to 
.iml then liny arc K"hig to feJ you. 
Hut wimt doea a strong, healthy man car* about 
all thlsl On. e tin-si- terrible aerna find your lung* 
breathing deep with ngygeri and your heart pump- 
ing rich, red hl-wid. they arc going to nin f' r their 
Hv.s. ,\ dJseaM k' nn baa •>-< mudi chance In a 
healthy body as a fly has In a spider"-. 

Food Was Meant to Eat 

I don't ash you lo affB up all the k ,m «I things In 
life. I make you tit to enjoy them Everything 

was made with some pari I ffM m- ant 

to eat and a healthy man has I 
tying, his Keen ap|>etlrv. A man who U 
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waste matter within, just ai vaanln| yon skin re- 
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I MAKE MUSCLE 

I am not a doctor— I don't claim to cure disease. 
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make mutcle; I How my Instructions and yog 
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feel the thrill of life puiglng through youi 
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can do if. 

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full- ['age photocr.t, 
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orer n present 

phyalqui 

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Thi- win not ai all. but for the sake of 

\<>ir future health 

.•-end today— r .1:1 this page. 

EARLE E. LIEDERMAN 

Dept. 1809, 305 Broadway, New York City 

EARLE E. LIEDERMAN. 
Dept. 1 809, 305 Braadway. New York City 

•» for wMr-h 
\ .'ii ar. wiflnmt any obligation on my 

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Enjoy the luxury of perfumed water of silky softness 

The utter luxury of the bath when Itathasweot has been sprinkled in it cannot be de- 
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THE C.S.WELCH CO., Dept. AB4, New York City, 




The Celluloid Critic 

(Continued from page 45) 

house as a group of incompetents. 
They notice her departure, but never 
think of following her. 

Meanwhile there is a melodra- 
matic flair when an escaped convict 
is determined to exact vengeance 
against the judge for sending him up 
the river — and the girl aids him to 
escape. The introductory scenes are 
by far the best — particularly the one 
featuring the prison delivery. But 
the picture becomes tiresome and 
dull and falters toward its conclu- 
sion. A discrepancy creeps out 
when the immaculate hero journeys 
down to Cherry Street attired in 
evening clothes and a top hat. As if 
he were slumming! 

The acting of the three cronies is 
entrusted to Claude Gillingwater, 
William H. Crane and Alec Francis. 
All give mellow performances with 
the first mentioned surpassing the 
others. Eleanor Boardman's hero- 
ine is easy upon the eyes but ber in- 
terpretation merely skims the sur- 
face. Careful editing would improve 
the picture, which despite its short- 
comings contains a few appealing 
moments. 

ANY picture carrying as its theme 
the evils of dope is not ex- 
pected to prove very enjoyable 
entertainment. But because it pre- 
sents a terrific indictment of the 
drug habit and is offered as a sin- 
cere attempt to diminish the scope of 
this terrible evil, "Human Wreck- 
age" (Film Booking Offices) will 
earn encomiums, regardless of the 
fact that many will consider it made 
for commercial purposes. It tells a 
story recognizably real, touching the 
high places as well as the low places 
in the social scale, thus revealing 
that no one is immune from the 
deadly influence of narcotics. 

The continuity doesn't always be- 
have. There are times when lesser 
characters are neglected entirely to 
give emphasis to the major plot — 
which concerns a powerful attorney 
becoming addicted to morphine and 
causing his wife untold anguish, un- 
til she is unable to cope with the vice 
and is about to become an addict 
herself, when her husband, realizing 
the terrible consequences, shakes off 
the grip of the drug. 

Mrs. Wallace Reid has doubtless 
employed her own personal experi- 
ences with other persons afflicted 
with the craving for narcotics — and 
the story which involves her is much 
more genuine than the by-plots con- 
cerning characters from a lower sta- 
tion in the social scheme. Yet these 
(Continued on page 94) 

(Ninety) 



i 





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Mahogany Finish 

Standard is 60 in. high, 3 in. 
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I^Shade- 



Made in Fifth Avenue de- 
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Marshall Silky Fringe Pull-Cords 

Also pair of Marshall silky fringe cords 
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For gas use, order by No. G6332NA. 
For electricity, order by No. G6333NA. 
Send only $1 with the coupon, $2 
monthly. Total Bargain Price for lamp 
and shade, $19.85. 

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Down 

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Here is something you have always wanted — a beautiful floor lamp 
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$1.00 deposit, plus any freight or express you paid. You cannot lose a single penny. 

If you discover that this 
lamp is a tremendous 
bargain at the price 
we ask and you decide to keep it, send only $2.00 a month until you 
have paid the total bargain price of $19.85. Yes, only $19.85 for this 
luxurious lamp and silk shade complete. Compare this value with anything you could 
buy locally at anywhere near the same price— even for spot cash! Straus &Schram 
gives you this bargain price and almost a year to pay. We trust honest people any- 
where in U. S. No discount for cash; nothing extra for credit. NoCO.D. 

Price Slashed ! 

Decide now to »ee this beautiful floor 

lamp and silk shade in your home on 

approval on this price smashing offer. Think how the nickels and 

dimes slip away for useless things; save them for something worth 

while that will give satisfaction for years. Send coupon with only 

$1.00 now! Satisfaction guaranteed. 

STRAUS & SCHRAM, Dept. 1516 Chicago, 111. 

MAIL THIS COUPON NOW! gS$?< , & sc c h h r ,^co 

Enclosed find $1.00. Ship special advertised Floor Lamp and Silk Shade 
as checked below. I am to have 30 days free trial. If I keep the lamp, 
I will send $2.00 a month. If not satisfied, I am to return the lamp and 
shade within 30 days and you are to refund my $1.00 plus any transporta- 
tion charges I paid. 

□ Gas Floor Lamp No. G 6332NA, $19.85. 
J Electric Floor Lamp No. G6333NA, $19.85 



Send Coupon NOW! 



Name 



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If you want ONLY our free catalog of home furnishings, mark X here D 



( Ninety-one) 



'. Si 




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Greed 

{Continued from page 56) 

Trina began to cry, remembering 
ber cold-blooded selfishness and what 
he had done to ber at the same time. 
She piled the gold back into its bag 
and locked the trunk. The key she 
wore in a tiny chamois bag around 
her neck. 

At the kindergarten the next day 
the children were decorating for their 
Christmas celebration. It was four 
o'clock and the early winter dusk had 
set in. Everything was ready but the 
Moor. The children went home anil 
left Trina to do the scrubbing. As 
she sloshed around in the dirty water, 
she thought of her gold at home, her 
bright, clean, shining, gold. She 
wrung the mop dry for the last time 
and was terrified to see McTeague 
enter the room. He had been drink- 
ing. 

"Wha-what do you want?" she 
gasped. 

"Your five thousand." 

"I haven't got it. Uncle Oelber- 
man still has it." 

"You lie. I've been to him." 

"I'll give you half " 

"No. Every damn cent of it." 

Trina did not reply. She slipped 
past him and managed to lock him in 
the room. He broke the lock without 
any difficulty and followed her to the 
cloak room. He took her by the 
throat and pressed his broad flat 
thumb into its soft throbbing white- 
ness. She made a funny litle gur- 
gling sound and started to struggle. 
Presently he staggered out of the 
dark cloak room and shut the door 
gently after him. 

At home he took Trina's little key 
and unlocked the trunk. He cursed 
the heavy load. He cursed the avarice 
that had demanded gold instead of 
bills, but he stuffed the canvas bag 
in the top of his trousers and went 
away. In the morning he was back 
at the Big Dipper Mine where he had 
worked as a boy. 

In the morning the children coming 
to school in little chattering groups 
walked happily toward the cloak 
room. A black cat was sniffing at the 
door, curling its tail. They opened 
the door, and ran back screaming. 
They could see a little white hand 
with only two fingers on it, out- 
stretched in its last mute and futile 
supplication. 

One night McTeague awakened 
with a fear he could not define. "I 
dont see nothing," he muttered, "I 
cant hear nothing, but I feel some- 
thing. . . ." He lay down again 
but he could not sleep. The Mc- 
Teagues of the world can always 
sleep and the fact that he couldn't, 
filled him with a grim foreboding. 




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78 Grand Street New York 



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LWSWEET INC 

1650-1660 BROADWAY, NEW YORK. 



(Ninety-two) 



jCrJ 



Note the remarkable improvement 
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Name 



Street and No. 



.State 



I If pat ked Up lii^ UK .f.;i i lliii.-.- ami 

the l ild and left w ithoul in 

ado. 

Two daj s later the sheriff and 
deputies inquired at the mine foi 

Mc I i ■ . i <; 1 it ■ . 

Mc lii "it tlic freighter ai 

;i little tow ii far dov\ n the line. There 
he fell in with ;i man named Criblx 
They formed a pai tncrship and went 
prospecting in Death Valley for gold. 
Miraculously they found it and 
staked their claim. Their mine they 
called "The I ast ( "hance." A new 
life began for Mel eagiie. 

A notice was posted in the desert 
for ilic arrest of McTeague wanted 
for murder, offering one thousand 
dollars reward. Marcus Schouler, as 
malign as fate, one day read the 
poster. He offered himself to the 
sheriff as a means of identifying Mc- 
Teague. He further adorned Ins tale 
by saying that the five thousand Mc- 
Teague carried was stolen from him. 
The sheriff and his posse, including 
Marcus, set mil over the desert. 

At midnight McTeague woke again 
suddenly, lie fired his Winchester 
in the air. "Aw, show yourself, will 
vim ?" he cried inexplicably. Cribbens 
sat up in surprise. McTeague was 
wiping the sweat from his white face. 
eery by starlight. "What in hell's 
the matter with your" Cribbens 
wanted to know. At dawn Mc- 
Teague was gone and the posse 
arrived. But they refused to go in- 
to the desert — only Marcus, who 
dreamed of the gold, followed. 

On the desert McTeague's mule 
dragged his feet wearily thru the hot 
sand. Foolishly McTeague had 
emptied his canteen at one draught. 
More foolishly still he had tied his 
bag of gold to the mule's hack and the 
mule had eaten some loeo weed. Mc- 
Teague lay down beside the beast and 
went to sleep. He was awakened by 
the sinister "Hands Up," of Marcus. 
Indifferently, McTeague complied. 

"Water," said Marcus weakly. 

"Gone," replied McTeague. 

"The money," whispered Marcus, 
his tongue hanging out like a dog 
panting. 

"On the mule." McTeague an- 
swered, as tho it didn't matter to him 
what became of it. 

Marcus jumped toward the mule, 
which ran skittishly away. Both men 
started after it and Marcus drew his 
gun and shot it. As the animal fell, 
the gold pieces slid out of the hag in 
amazing brightness. McTeague 
lunged toward Marcus and in a triee 
Marcus had clamped the handcuffs 
to him. 

Now they begin to argue about 
the possession of the gold. They for- 
get there is no water, and that they 
(Continued on facie %") 



Weaknesf Barf YOU From 
Happy, Successful Marriage 




Wlirn Marriage 
Meant Misery 



STRONGFORT 
The Perfect Man 



I II 

i father! 

facta 
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Make Yourself a lOO Man 

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I In full faith 

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Pa*. 
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FREE CONSULTATION COUPON 
Mr. Lionel Stronalort. Dept. 522. Newark. N 
"Promotion and Con*ervatl« 
Strength and Mental Energy. 

ject in which I at 



t Me..tth 



Colds 
Catarrh 
Asthma 
.Hay Fever 
Obesity 
Headache 
Thinness 
Rupture 
Lumbago 
Neuritis 
Neuralgia 
Flat C 
Deformity 

.Successful 
Marriage 
Plmple> 
. Insomnia 



..Short Wind 
..Flat Feet 
. .Stomach 

Disorders 
. .Constipation 
. .Biliousness 
..Blackheads 
. .Torpid Liver 
. . Indigestion 
. Nervousnevt 
, Poor Memory 
. . Rheumatism 
. . Manhood 

Restored 
. Vital Losses 
. I m potency 
. Neurasthenia 



Dlabrtei 

Prostate Troubles 
. Female Disorder, 
. Increaied Height 
. Youthful Errors 

Falling Hair 
. Weak Eyes 
. Gastritis 
. Heart Weakness 
. Poor Circulation 
. Skin Disorders 

Despon 

Round Shoulder* 
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Stoop Shoulders 
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Development 

Great Strength 



Name 

Age Occupation. 







(Ninety-three) 



PREFERRED PICTURES 




UJVew factor in (Motion ^pictures 



Preferred Pictures, in one short year, has 
become an outstanding factor in the pro- 
duction and presentation of successful 
motion pictures. 

PREFERRED PICTURES was organized 
and developed by men, young in years, 
but veterans in experience, whose recog- 
nized ability was such as to attract directors, 
writers and stars of the first magnitude. 

Directing Preferred Pictures are 

GASNIER TOM FORMAN 

and VICTOR L. SCHERTZINGER 

These men have risen to the top because 
they know how to put entertainment on tbe 
screen. 

Contributing their talents are stars who have 
brought pleasure to millions. Preferred stars 
are used to translate each story in its finest 
form; every Preferred Picture is perfectly cast. 

The casts of Preferred Pictures include such 



names as 

Kenneth Harlan 
Gaston Glass 
Ethel Shannon 
Barbara La Marr 
Colleen Moore 
Lon Chaney 
Madge Bellamy 
Miriam Cooper 
Claire Windsor 
House Peters 



Ruth Clifford Josef Swickard 

Joseph Dowling Myrtle Stedman 

Florence Vidor Edith Yorke 

Raymond Hatton David Butler 

Stuart Holmes Rosemary Thehy 

Walter Long Edith Roberts 

Truly Shattuck Harrison Ford 

Estelle Taylor Miss du Pont 

Lloyd Hughes Frankie Lee 

Zasu Pitts Russell Simpson 
Tom Santschi 



Marguerite de la Motte 

In developing its program for the coming 
year, Preferred Pictures has searched litera- 
ture, the stage and all other sources available 
to maintain its high standards and to present 
photoplays of unquestioned merit. 

PREFERRED PICTURES are sho<wn in your city. 
Call up your Favorite Theatre and ask "WHEN?" 

Distributed by 

PREFERRED PICTURES CORP. 

AL LICHTMAN, President 
1650 Broadway, New York 



9 



PREFERRED 
PICTURES 

Produced by 

B. P. SCHULBERG 

Coming 
"The Broken Wing" 

by Paul Dickey and Charles 
W. Goddard. 

"Mothers-in-Law" 

by Frank Dazey and Ag-nes 
Christine Johnston. 

"The Virginian" 

by Owen Wister. 

"April Showers" 

by Hope'Loring: and Louis D. 
Lighton. 

"Maytime" 

by Rida Johnson Young - . 

"The Boomerang" 

by Winchell Smith and Victor 
Mapes. 

"White Man" 

by George Agnew 
Chamberlain. 

"Poisoned Paradise" 

by Robert W. Service. 

"When a Woman 

Reaches Forty" 

by Royal A. Baker. 

"The Mansion of 

Aching Hearts" 

by Harry Von Tilzer ami 
Arthur J . Lamb. 

"The Breath of 

Scandal" 

by Edwin Balmer 

"The First Year" (of 

married life) 

by Frank Craven. 

"The Trlflers" 

by Frederick Orin Bartleit. 

"Faint Perfume" 

by 2ona Gale. 

"My Lady's Lips" 



'^Ipw Showing 

"Daughters of the Rich" 
"The GirlWhoCameBack " 
"Are You a Failure?" 
"Poor Men's Wives" 
*"The Hero" 
"Thorns and 

Orange Blossoms" 
x "Shadows" 
"Rich Men's Wives" 

* Placed by Robert E. Sherwood, 
critic of LIFE, on bis list nt th, 
fifteen best pictures of the year. 



The Celluloid Critic 

{Continued from page 90) 

people in their efforts to peddle the 
stuff and the consequences of their 
acts show that they are not far over- 
drawn. There are five or six deaths 
— some of which are violent — which 
make the majority of scenes harrow- 
ing indeed. But one is not looking 
at sweetness and light in an expose 
of the drug evil. Many will profit 
by the picture and naturally will 
watch their steps. The peddlers and 
addicts will on the other hand not 
be attracted to it, for its evils are too 
sharply emphasized. 

A word for James Kirkwood. As 
the attorney he gives a highly effec- 
tive study of human suffering when 
he becomes an addict. And George 
Hackathorne as a character in the 
clutches of "coke" brings a sharp 
touch of realism to the role. Mrs. 
Wallace Reid is sincere and earnest 
in her portrayal of the wife. Hav- 
ing dedicated her life to save others 
from this terrible affliction, she suc- 
ceeds in bringing value to the picture. 

BAYARD VEILLER'S crook 
melodrama, "The Woman with 
Four Faces," (Paramount) car- 
ries a teaser title which will attract 
curiosity. The curious, however, 
once they are in their seats, will sec 
a likely story which has been com- 
petently executed by Herbert Bre- 
non, the director, even, tho the 
author (he should have known bet- 
ter) has allowed an array of incon- 
sistent episodes to mar his work. 

Imagine a quartette of crooks put- 
ting the papers in a safe instead of 
destroying them ; imagine a district 
attorney using a personable girl, 
gifted at disguise and masquerade 
(hence the title), to gather the evi- 
dence ; imagine this same prosecutor 
employing an airplane to lift a con- 
vict from a prison yard so that he 
might crack the safe in which the 
papers are hidden. The improbabil- 
ities may furnish novelty, but they 
also give it a pictury character. Di- 
rected with speed and acted with an 
assortment of expressions by Betty 
Compson, who is at her best in crook 
roles. 



A 



XOTHER Paramount, "The 
Law of the Lawless," is an old 
friend in a new disguise. The 
girl who sells herself on the auction 
block to wipe out her father's debts 
has been treated upon the screen for 
years. Here it serves in bringing 
out a gypsy background, the locale 
being somewhere along the lower 
Danube. But all the picturesque 
costuming in the world cannot make 
Dorothv Dalton other than a enmic 



(Kinety-four) 




e crystal pure 
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(fierf 



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les 



122 



HOW TO 
BANISH THEM 



le. safe home 
treatment — is years 
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Grove Avenue Woodbridge, N. J. 




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opera figure. \nd t harles de R< 
making his debut is coloi l< \m 

one "i a d< >zen \m< fifted in 

the saddle and i cqualh 

■ I a physique could outshine the 
frenchman. Even hia li u, 1 1 1 with 
Koslofl when he would save the girl 
he bought from a tempestui »u I at 
tar lacks the vigor which Sills or fiv< 
and seven others could imparl to it. 
The bodj of the picture is taken 
up u ith the heroine displaying spirit 
against the indifference and a 
man tactics of the gypsy, lt'> verj 
old, very obvii itrs and very medii 

CAPITALIZING upon a man's, 
gift for expressing untold >ui- 
fering is Lon Chaney's reward 
these days. Ever since he was cata- 
loged as the actor of a thousand 
• arcs, the resull of his work in "The 
Miracle Man." which picture, to- 
gether with "The Penalt) ," showed 
him ;i- unusually talented in portray- 
ing a helpless cripple, his roles have 
been marked out for him. 

" I he Shock" i I miversal) pr< >- 
vides him another opportunity to 
show his skill at characterization in 
the part of a crippled crook who 
finds redemption thru the lovelight 
in a girl's eyes. I if course he is 
brought hark to health by means of 
the shock caused by the Frisco earth- 
quake. Ail interim he is saving the 
girl from a roller and her father 
from jail. Fairly effective and 
Chaney's poignant humanities are 
given lull latitude. 



Trilby 

(Continual (rum page 82) 
Billie's career. Trilby! You must— 



and 



never 



him 



am- 



ain away 
mor< 

"Trilby!" Little Billie groaned, 
"Oh, my dear, dont run away " 

A little later she whispered 
Svengali's name. "He was— kind to 
me. We were really married 

too " with a piteous Hash of 

pride, "so you can put — Madame on 
icad -tone " 

"Trilby," begged Little Billie, 
"think of the old studio and tl>e good 
times we had, think of the boulevards 
in springtime with the llower carts, 
and the cafes and theaters at night. 
We'll sit in the gallery at the ( )pera 
and hear the trumpets in ' Aida.' and 
we'll buy sausages and daffodils and 
little gold slippers for your feet- — ■ 
your beautiful feet. Trilby " 

Trilby laughed a ghost of her old 
gay laughter, "and I'll — sing- 



And then the only sound in the 
room was Little Billie's sobbing and 
the rattle of the busses outside, taking 
the tourists to Montmartrc in search 
of its famous sin. 



Science Discovers 
the Secret of 

Caruso's 

Wonderful Voice 




Why i» it that the humble peasant boy of Italy 
became the greatest singer oj all time ' Thie dia- 
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velous voire uas due to a superb dexelupment of 
./:/" 'jtossue musete. lour Huo • Gluteus 
muscle can be developed, toot A good voice • 
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•Science will help i«/u. 

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A few very fortunate persons— like the late 
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are to be you' own judge — if your voice is 
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Hundreds of famous singers bare studied with 
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If you want to improve your speaking voice— if 
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Prof Feuchtinger's Book FREE 

You will do yourself a, greet and lasting good by 
studying this book "Enter Your World. It may 
be the first step in your career. Do not delay. 
Mail the coupon today. 



Perfect Voice Institute 

1922 Sunnyside Ave., Studio 12.76 Chicago 

-end me FREE Pro ■ nffer's book . 

"Enter Your World." 1 have put X opposite th. 
subject that intercuts me most. 1 assume no obli- 
gations wbati 



Sejatia; 



.Staaaaernf Weak Vein 



."-" . i 



A;, 



(Ninety-five) 



nrr 



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78 Grand St. 

New York 



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TO 

PAY 





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Greed 

{Continued from page 93) 

are both dead men. A choking, 
bitter, galling rage flares up in 
McTeague and lie beats Marcus over 
the head with the butt of his gun. 
Marcus falls, dragging McTeague 
down with him. McTeague tries 
vainly to rise. . . . He cannot. . . . 
He is handcuffed to Marcus. . . . 
Now he sits staring at the poured-out 
gold pieces touched into flame by a 
cruel hot sun. ... A little bird lights 
daintily on the head of the dead mule. 
... It cocks its little head toward 
the heap of gold. . . . McTeague 
nods gravely . . . once or twice. . . . 



Current Stage Plays 

{Continued from page 6) 

"Lightnin'." A comedy that crosses 
your heart — the one that Frank Bacon 
made famous. 

"Sally, Irene and Mary." One of the 
best musical shows that have ever blessed 
the comedy stage. 

"So This Is London." George Cohan 
poking fun at American and British 
temperaments. Not original cast. 

"The Dancing Girl," a song, dance and 
laugh fete. 

"The First Year," a comedy about 
"breakers ahead" on the honeymoon. 

"The Passing Show," as usual a gor- 
geous revue. 

"Whispering Wires," a mystery play 
that raises the hair. 



PHOTOPLAY HOUSES 

Loew's N. Y. and Loews American 
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Lociv's Metropolitan, Brooklyn. — Fea- 
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Rivoli. — De luxe photoplays with full 
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Rialto. — Photoplays supreme. Program 
changes every week. 

Strand. — Select first-run photoplays. 
Program changes every week. 

Cameo. — The Little Theater of the 
Movies. First and second-run photoplays. 
Good music. 



LIFE 
By Dorothy Quick 

Life, once I loved you, when I was young, 

Nodded assent when your praises were 

sung, 

Trustingly yielded myself to your sway, 

Followed your precepts day after day. 

Now, I no longer am under your spell. 
As i grow older I know you too well. 

Know you will cheat me whenever you 
can, 

Break me or make me, just as you plan. 

Life, I shall laugh at you when I am old. 
Perhaps you will wonder what makes me 
so bold — 
And I shall answer you with my last 

breath, 
Mine is the triumph, tho victory means 
death. 



Let Arthur Murray 

(The Vanderbilts* Instructor) 

Teach You to Dance 




Why Miss Half 
the Fun in Life? 

EVERYONE admires and wanta 
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5 Dancing Lessons FREE 

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friends. Act not*. Be a good dancer soon.' 

ARTHUR MURRAY 

Studio 829 290 Broadway, N. Y. 




■ 



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WRITE FOR THE MOVIES 



Ideas for moving picture plays wanted by producers. 

Big prices paid for accepted material. Submit ideas 
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(Ninety-six) 




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$4.50 for three with guarantee. 



VAN ESS 

LABORATORIES 

17 East Kinzic 
Chicago, III. 




Do A'of Enclose Money 

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VAN KSS I.ALtORATORI K.S. 

17 East Kinzie Street. Chicago, 111. 
Please send ... bottles ot" \"an Ess to me. I 
will pay postman $ on delivery. 

Xante 



Address 

Ci 'y Slate 



OPPORTUNITY MARKET 



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FILMS DEVELOPED 

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MAIL ORDER METHODS 

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PHOTOGRAPHS 



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sample assortment. Astei 

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PHOTOPLAYS 



ATTENTION, STORY AND IMIOTOI-I.Xi 
WRITERS — The service you've been looking tor. 
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state your minimum sale price. We charge ten 
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Successful Photoplays Brinjr Big Money. Send 
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SSS For Photoplay Ideas. Plots accepted any 
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SHORT STORIES 



BARN *;."> MEEKLY, spare time, writing for 
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Stories and Photoplay Ideas Wanted l.y 48 
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Producers' League, 441. St. Louis, Mn. 

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FREE TO WRITERS— A wonderful little ho.Tk 
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Stamp Names On Key Checks. Make 119 per 

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and instructions. M. Keytag Co., Oohoes, N. Y. 

VAUDEVILLE 

■I T ON THE STAGE. I tell you how! Per- 
sonality, confidence, skill developed, Experience 
unnecessary. Send 6c postage for instructive 
illustrated Stage Book and particulars. O. 
LaDelle, Hox 657, Los Angeles, Cal. 




a week 

for Drawing 



COMMERCIAL art is a n 
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advertising. If you like to draw. 
you are indeed fortunate— for well 

trained artists arc- always at a 
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Send Today for 

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It is beautifully illustrated in 

tells every detail you need t . ■ k n- .• 

the Federal Course, i rk of 

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Its I Tl 

stamps today for 
this book, kindly 
statins your age 
and occupati 



COUPON! 




Federal School of Commercial Deorninr 

1013 Federal Schools Bid*.. Minneapolis. Miss. 

send me "Your Kuturc" for which I 
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Na tnc . 






Occupa - ■ 

I address pi... argtnt 



(Ninety-seven) 



< \Iks Jwelij Slender 
figure /xKOURS 

This Beautiful Woman *Y0U 

It is natural to be beautiful. Every woman is by 

nature beautiful. Only when artificial influencesinterfere 

does the human body, Nature's most beautiful product, 

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LET THIS FAMOUS SPEC 
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IN THIS EASY NATURAL WAY 

Dr. R. Lincoln Graham, famous stomach 
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there is not the slightestelement of danger 
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SEND NO MONEY— SATISFACTION GUARANTEED 

No bother to make out a check or little packet of Neutroids arrives, de- 
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haven't your pencil handy tear out the funded if you write us that you are 
coupon and send it later. When the not entirely satisfied with results. 

Dr. R. Lincoln Graham, care of The Graham Sanitarium, Inc., 123 East 89th Street. Dept. 426 
New York City:— Send me 2 weeks' treatment of Neutroids which entitles me to free professional 
mail consulting service and free booklet on Obesity. I will pay postman $2 (plus 15c postage) on 
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get a satisfactory reduction from this 2 weeks' treatment. 

Name Age Sex 

Address Weight 





NO CHARGE for 
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Any patient who is tak- 
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call at the Sanitarium, 
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may feel free to write 
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case. Dr. Graham or a 
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you professional advice 
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lablimhed t»U New York 



Elinor Crlyn and 

xnree Vveeks 

To Adele Whitely 
Fletcher and Gladys 
Hall Miss Glyn con- 
fides how she wrote 
her most sensational 
novel. The work she 
expects to do in the 
motion picture field 
promises to be as in- 
teresting as her fic- 
tion. 

I tie Jack Pickfords 
at Home 

A glimpse of the 
home life of Jack and 
Marilyn is given by 
Harry Carr who vis- 
ited them in their at- 
tractive Spanish cot- 
tage near Hollywood 
where they are having 
a second honevmoon. 



Al 



so- 



Besides these two fea- 
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This is a number that 
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the 

OCTOBER 

MOTION PICTURE 
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(Ninety-eight) 










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Palm and Olive Oils 
— nothing else — give 
nature's green color 

to l'u I mo live Soap 





"Beauty That tyres 



Often you meet a woman with vivid beauty that 
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A smooth, fresh, flawless skin — a complexion glow- 
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Cleopatra had it, and her name will always be the 
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beauty, and kept it in this perfection in a simple, 
natural way which history has handed down for 
modern women. 

How She Did It 

By thorough, gentle, daily cleansing which kept 
the texture of her skin firm, fine-grained and smooth. 
Dirt, oil and perspiration were never allowed to col- 
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lavish use of cosmetics practiced by all ancient wo- 
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Her secret — palm and olive oils, valued as both 
cleansers and cosmetics in the days of ancient Egypt. 
The crude combination which served the great queen 
so well was the inspiration for our modern Palmolive. 

Bedtime Is Best 

Your daily cleansing is best done at night, 



•\ 



so your complexion may be revived and refreshed 
during sleep. The remains of rouge and powder, the 
accumulations of dirt and natural skin oil, the traces 
of cold cream should always be removed. 

So, just before retiring, wash your face in the 
smooth, mild Palmolive lather. Massage it gently 
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In the morning refresh yourself with a dash of 
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Once Costly Luxuries 

When Cleopatra kept her loveliness fresh and 
radiant by using Palm and Olive oils, they were ex- 
pensive. Today these rare and costly oils are offered 
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green cake, the natural 
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sale the world over. ^^0B 

r Ar'-SS 1 




cb 




\ 




©n 



^O 



\ 




A BREWSTER PUBLICATION 




A 1 ' - - ^ 



Z\[ature's Qreen 

Palmolive takes its color from the 
palm and olive oil blend which is 
responsible for its mildness. It is 
as much nature's own color as the 
green of grass and leaves. 

Remember this when you are en- 
joying its wonderful cleansing 
-lualities and marveling at its 
mildness. Palmolive is a modern, 
scientific blend of the most per- 
fect soap ingredients that the 
world has been able to discover 
in 3,000 years. 



Palm and olive oils 
— nothing else — give 
nature's green color 
to Palmolive Soap. 






Reflecting Beauty Seer 

of the Pa 




Women of ancient Egypt knew that cleanli- 
ness was the first aid to beauty. But they 
knew, too, that cleansing methods must be 
mild, gentle. 

Famous Egyptian beauties solved the problem 
by using palm and olive oils. The same rare, 
natural oils are blended in Palmolive Soap 
today. 

How it acts 

This gentle, thorough cleanser never leaves 
skin dry and rough. 

The smooth, creamy lather actually soothes 
as it cleanses. Yet it removes every trace of 
dirt, perspiration, and surplus oil accumulated 
in the tiny pore openings. 

Your skin is kept rree of imperfections which 
result from pore-clogging. It remains fresh, 
soft, radiantly clear. 

How to use it 

Never sleep without cleansing the skin. 



i 



Wash with this mildest soap at bed- time- 
massaging the creamy lather well in. 
Then rinse very thoroughly. Dry the skin 
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Mornings — just an invigorating rinse in cold 
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cheeks. 

Supreme quality — low price 

This scientific combination is within the 
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Everyone can afford this thorough, gentle 
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face, and the whole body. 

Supply yourself today withacake ofPalmolive 
Soap. Once you experience the effects of its 
profuse, creamy, smooth lather no other soap 
will satisfy. 



' 



"«*• 



Copyright 1923— The Falmolive Co. 1!>SG 




Protect Yourself Against These 
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(Three) 



BARKLY THEATRE 

gt.Kilda. Victoria. 
Australia 




THE MAGIC NAME IN ENTERTAINMENT 

THE WORLD OVER 



YOU whose lives are spent in one 
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(Four) 




1 

< 



COVER PORTRAIT— ALICE TERRY 
Painted bj E. DaW 

The Second Crusade, An Apologj and an Explanation 11 

Our Portrait Gallery: Douglas Fairbanks, Peggy Shaw, Zazu 

Pitts, James Kirkwood, Norman Kerry, Dorothy Dalton \1 

The Camera Man's Angle, Mr. Bausch Lens talks to Harry Con- IS 

Famous Heroines No. 1. (lain- Windsor as 1 hi Marry 21 

Foreign Films, European 9tudios at a glance Maurice R 

Divine Discontent, \n interview Faith s 

Scaramouche, A character study of Ramon Navarro 

Ashes of Vengeance, Fiction ... .Patricia 

The Drama of the Decalogue, Pictures from De Mille's "Tin- Ten Commandments" .... 32 

Elinor Glyn on the Technique of the Screen Ivery Strakosch 34 

After Rembrandt, A poetic portrait of Richard Barthclnicss 35 

The Promise Fulfilled, The winners of our contests who have left obscurity behind 

"Fifteen Men on a Dead Man's Chest!" 

The Powers Behind the Screen, The first of ;i series of live articles Stanton Leed 

Hollywood Homes, Harold Lloyd and Mildred Davis 4<i 

An Old Story, Vera Gordon's . .' Faith Service 42 

Jean Arthur, Sauce piquante! 43 

The Photographer Takes the Stage, Our theatrical department 44 

Iris In, Pertinent and impertinent screen comment H. II. Hanemanm 40 

The Celluloid Critic, Selects "Hollywood" as the best photoplay of the month Laurence Rcid 47 

The Rime of the Ancient Ham, With apologies to Coleridge I H. Giebler 50 

Blow Your Own Horn, Fictionized Dorothy Donnell .-<-' 

Flashes From the Eastern Stars, Of the stage, on the screen Caught by the Edit, 

On the Seven Hills of Rome, Beautiful and authentic "White Sister" backgrounds 

Classic Considers The great and the near great 60 

A Camera Study, George Walsh becomes an .esthete 61 

The Hollywood Boulevardier Chats Horry Cat 

The Movie Encyclopedia By The . Insvuer Man 70 



iption $2.50 per year, in advance, including postage, in the United States! Cuba, Mexico and Philippine Islands. In Canada 
$3.00; Foreign Countries $3.50 per year. Single copies 23 cents postage prepaid. United States Government stamps acceptetl. 
Subscribers must notify us at once of any change in address, giving both old and new address. 

Published Monthly by Brewster Publications, Inc.. it Jamaica, N.Y. 

Entered at the Post Office at Jamaica, V. ) '., j> second-class matter, under the act of March 3rd. IS79. 

PRINTED IN U. S. A. 

Eugene V. Brewster, President and Editor-in-Chief ; Guy L. Harringion. Vice-President jnJ Business Manager; L G. Conlon. Treasurer ; 

E. M. Heinemann. Secretjrv. 

EXECUTIVE and EDITORIAL OFFICES. 175 DUFFIELD ST., BROOKLYN, N. V. 

Copyright. 1923, by Brewster Publications, Int., in the United States and Great Britain. 



SUSAN ELIZABETH BRADY. Editor 
ADELE WHITELY FLETCHER. Managing Editor 

Harry Carr Western Representative 

A. M. Hopfmuller Art Director 

Duncan A. Dobie Director of Advertising 

This magazine, published monthly, comes out on the 12th. Its elder sister, the Motion Pictvre Magazine, comes out on the 
1st of every month. Skadowlahd appears on the 23rd of the month. BKAUTV is on the stands on thi S 



Announcement for November 

"Only in the little cave behind the camera do you come hack to the Occident . . . 
for there you will find Raoul Walsh, the director . . . and Mrs. Woods, the technical 
director, who has studied Bagdad until she knows more about it than Mohammed did. 

"And there they sit . . . making the world's greatest fairy story." 

Harry Carr 

Do not overlook the story of Douglas Fairbanks' next picture in the November 
Classic. It is screen history! 




(Five) 






I 




If He Had Passed It Up 

He Would Still Be A Laborer At $2 A Day. No 
IVbney, Nothing Ahead But Hard Work, Longer 
Hours— and Regrets. But He Didn't Pass It Up. 

lit decided lo learn Mechanical Drawing. He buckled 
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DRAFTSMAN'S EQUIP- 
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Equipment and Drafting 



Instruments as shown in 
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CONSULTATION PRIVI- 
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Given to Students ^^^^^^r 

U. S. Civil Service Commission Needs DRAFTSMEN 

The following are a few of the many positions open in 
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THE COLUMBIA SCHOOL OF DRAFTING 

Roy C. Claflin, President 
Dept. 2147. 14th & T Sts., N. W. Washington, D. C. 

f ------- FREE BOOK COUPON ------- », 

| COLUMBIA SCHOOL OF DRAFTING, 
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. Name J 

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Current Stage Plays \ 

{Readers in distant towns will do well to preserve this list for reference when these 
spoken plays appear in their vicinity.) 



"Tweedles" 

"Rain" 

"In Love with Love" 

"7th Heaven" 

"Merton of the Movies' 



Ambassador. — "The Newcomers," a re- 
vue depending upon the performers rather 
than on setting and costumes. Will Mor- 
risey does the Balieff stunt effectively at 
times. The show falls short of the gen- 
eral standard of Broadway revues. 

Apollo. — "Poppy," a musical comedy 
which marks Madge 
Kennedy's first ap- 
pearance in a musi- 
cal show. 

Ast or . ■ — "Dew 
Drop Inn." A return 
engagement o f the 
lively musical 
comedy, with John 
Barton again the 
hlack-face eomedian, 
who shakes a 
wicked foot and is 
nobly supported by 
Mooney, his dawg, 
and a superb tango- 
ing couple. 

Booth. — "The 
Seventh Heaven." 
Hand-made on a 
melodramatic pattern 
in a Montmartre 
tenement in Paris, 
of an admixture of 
love, regeneration, 
humor and unreality. 
An excellent per- 
formance with Helen 
Menken starring. 

Broadhur'st. — "The Good Old Days," a 
prohibition divertissement by Aaron Hoff- 
man, with George Bickel and Charles Win- 
ninger the contrary-minded gentlemen. 

Carroll. — "Vanities of 1923," with 
Peggy Hopkins Joyce leading the delectable 
and innumerable vanities. 

Casino. — "Wildflower," with lovely Edith 
Day flashing thru an exquisite musical 
score. 

Cohan. — "Adrienne," a musical comedy 
with an unusually good chorus. Billy Van 
and Richard Carle, the latter of "The 
Spring Chicken" fame, take care of the 
laughs. Lou Lockett and Alargaret Ross 
introduce a new dance, Adagio. 

Cort. — "Merton of the Movies." In 
which Glenn Hunter self-visualized as a 
movie hero of the "great open spaces" 
plays havoc with our emotions as an arch 
comedian. 

Elliott.— "Rain." A bitter tragedy by 
Somerset Maugham ; a violent attack on 
the repressions of Puritanism. Jeanne 
Eagels is superb in the leading role. 

Eltingc. — "The Woman on the Jury,'* by 
Bernard K. Burns. 

Empire. — "Casanova" a play from the 
Spanish, adapted by Sidney Howard, and 
featuring Katherine Cornell and Lowell 
Sherman. 

Forty-eight. — "Zeno," a melodramatic 
mystery play, by Joseph R. Rinn, with 
Effie Shannon the star. 

Forty-ninth. — "Thumbs Down," a mys- 
tery play, centering around a District At- 
torney, a bootlegger, a matrimonial melee, 
and a butchery- A poor successor to "The 
Bat." 

Frasee. — "Tweedles," a comedy written 
by a team of humorists — Booth Tarking- 
ton and Leon Wilson. Gregory Kelly and 
Ruth Gordon head the cast. 

Gaiety.— "Aren't We All?" Cyril Maude 
in a delightful light comedy that revolves 
around a philandering husband and an in- 
discreet wife. Mr. Maude in a Grumpy- 



Classic's List of Stage Plays 

in New York That You 

Should See 



ish character sets a rare pace of fun and 
his support keeps it up. 

Garrick. ■ — "The Devil's Disciple." A 
Shaw satire, which as usual shows up the 
under side of militarism and politics. It 
ends ungallantly on a triangle. An ex- 
cellent show with Roland Young as Gen- 
eral Burgoyne alone 
worth seeing. 

Globe. — "George 
White's Scandals." 
A de luxe edition of 
gorgeously gowned 
beauties that make 
scandals appetizing, 
including parodies 
on Chan ve -Sunn's 
and the Moscow Art 
Theater. 

Greenwich }'il- 
lac/e. — "Brook," by 
Thomas P. Robin- 



son. 

Hudson. — "The 
Crooked Square," 
by Samuel Shipman, 
with Edna Hibbard 
and Ben Lyon tak- 
ing the leads. 

Klazv. — ''The 
Breaking Point," 
dramatized from 
Mary Roberts Rine- 
hart's popular novel, 
is the vehicle of 
Lucile Sear's stage debut. McKay Morris 
has the chief male part, Gail Kane is also 
in the cast. 

Liberty. — "Magnolia," another Booth 
Tarkington comedy with its locale a 
Mississippi plantation and a Natchez 
gambling house, in the early forties. Leo 
Carillo takes the part of a young 
Southerner reared in the North, and 
Martha Byran Allen, the youthful favorite, 
that of a charming Southern girl. 

Longacre. — "Little Jessie James," a 
musical comedy w*ith Nan Halperin as 
Little Jessie. The Paul Whiteman band 
dubbed the James Boys takes care of the 
orchestration. 

Lyceum. — "Little Miss Bluebeard," an 
Avery Hopwood comedy adapted from the 
French, with Irene Bordoni supported by 
Austin Farnum and Stanley Logan. 

Morosco. — "Red Light Annie," a melo- 
drama of the underworld dealing with the 
drug question. Alary Ryan in the leading 
role. 

Music Box. — "Alusic Box Revue," Ir- 
ving Berlin's 1923 extravagant display of 
beauty and humor. 

National. — "The Black Flag," a fantas- 
tic piratical comedy with Pedro de Cordoba 
and Carroll AlcComas in the leading roles. 
New Amsterdam.- — "Ziegfeld Follies," 
glorifying the American girl and featur- 
ing Patricia Salmon, the tent-show girl of 
the Golden West. 

Playhouse. — "A Alad Honeymoon,'' 
Barry Conners' farcical melodrama in 
which a fat housemaid, a minister, and a 
constable, educated by correspondence, de- 
luge the elected pair — Boots Wooster and 
Kenneth AlacKenna — with delightful non- 
sense. 

Palace. — Keith vaudeville. Always a 
good bill, and drawing more and more 
talent from the headliners of the regulars. 
Plymouth. — "The Next Corner," a 
comedy by Kate Jordan, the cast headed 
by Florence Eldridge, Louise Closser Hale, 
and Basil Rathbone. 

(Continued on page 98) 

(Six) 



- 




Ml.M MiI'iKm vM/rr. itaro/ 

Ziegtictd'* mutual comedy, 

"Sally" 



Photacraph by LtvU-Smllh , Chtmoo 



1 CanTeadxTfou to Dance like This* 

Ser$efMarinofF 

"And you can study urider my personal 
direction right in your own home." 



FEW PEOPLE living outside of 
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But now, the famous Sergei MarinoS 
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A Fascinating Way to Learn 

It is so easy and so delightful. Just 
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master the technique of the dance. 

Your progress is rapid and soon you 
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FREE 



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Charm and Grace 

The natural beauty of the body is 
developed, an exquisite grace and 
flexibility cultivated by correct train- 
ing in classic dancing. For better 
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for slenderness — dance ! Dancing is 
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As a means of developing grace in 
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And Fortune — and Glory 

The popularity of classic dancing 
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For the theatre — vaudeville — the 
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Write to Sergei Marinoff 
Everyone interested in dancing 
should write to Sergei MarinoS at 
once and get complete information 
concerning his splendid system 
of home instruction in Classic 
Dancing. This information is free. 
Send the coupon today. 

M. SERGEI MARINOFF 

School of Classic Dancing 

Studio 12-77 1924 Sunnyside Avenue, Chicago 



iniiiiiiiiiiiiiiii 



M. Serge/ Marinoff. 

School of Classic Dancing, 

Studio 12-77 1924 Sunnyside Ave., Chicago 

Please send me FREE portfolio of art plate* 

and full information about four home study 

course in Classic Dancing. I understand that 

this is absolutely FREE. 



: Addr 



If ■■! I Mil III III! Illl Illlimilllt 



■ Af 



(Seven) 



The Most Darinf* Book 
Ever Written ! 



Elinor Glyn, famous author of "Three Weeks," has written an 
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ELINOR GLYN 
The Oracle of Love" 



What Every Man and 
Woman Should Know 



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married life. 



— how to ignite love — 

how to keep it flaming 
— how to rekindle it if 

burnt out. 
— how to cope with the 

"hunting instinct" in 

men. 
— how to attract people 

you like. 
— why some men and 

women are always lov- 
able, regardless of age. 
— how to make love keep 

you young. 
— must all men be either 

"dubs" or devils? 
— how to increase your 

desirability in a man's 

eye. 
— how to tell if someone 

really loves you. 
— things that make a 

woman "cheap" or 

"common." 
— how to make people 

do the things you want 

them to. 



What Do YOU 
Know About Love? 

DO you know how to win the 
one you love? Do you 
know why husbands, with de- 
voted, virtuous wives, often be- 
come secret slaves to creatures 
of another "world " — and how 
to prevent it? Why do some 
men antagonize women, finding 
themselves beating against a 
stone wall in affairs of love? 
When is it dangerous to disre- 
gard convention? Do you know how to 
curb a headstrong man, or are you the 
victim of men's whims? Do you know how 
to retain a man's affection always? How 
to attract men? Do you know the things 
that most irritate a man? Or disgust a 
woman? Can you tell when a man really 
loves you — or must you take his word for 
it? Do you know what you MUST NOT 
DO unless you want to be a "wall flower" 
or an "old maid"? Do you know the little 
things that make women like you? Why 
do "wonderful lovers" often become 
thoughtless husbands soon after marriage 
— and how can the wife prevent it? Do you 
know how to make marriage a perpetual 
honeymoon? 

In "The Philosophy of Love," Elinor 
Glyn answers these precious questions — 
and countless others. She places a magni- 
fying glass unflinchingly on the most in- 
timate relations of men and women. No 
detail, no matter how delicate or avoided 
by others, is spared. She warns you gravely, 
she suggests wisely, she explains fully. 

A book of this type, to be of great value, 
could not mince words. But while Madame 
Glyn calls a spade a spade — while she deals 
with strong emotions and passions in her 
frank, fearless manner — she nevertheless 
handles her subject so tenderly and sa- 
credly that the book can safely be read 
by any grown-up man or woman. In fact, 
anyone over eighteen should be compelled 
to read "The Philosophy of Love"; for, 
while ignorance may sometimes be bliss, 
it is folly of the rankest sort to be ignor- 
ant of the problems of love and marriage. 
As one mother wrote us: "I wish I had 
read this book when I was a young girl — 
it would have saved me a lot of misery and 
suffering." 

SEND NO MONEY 

YOU need not advance a single penny 
for "The Philosophy of Love." Simply 
fill out the coupon below — or write a letter 
— and the book will be sent to you on 




approval. When the postman delivers the 
book to your door — when it is actually in 
your hands — pay him only $1.98, plus a 
few pennies postage, and the book is yours. 
Go over it to your heart's content — read 
it from cover to cover — and if you are not 
more than pleased, simply send the book 
back in good condition within five' days 
and your money will be refunded instantly. 

Over 75,000,000 people have read Elinor 
Glyn's stories or have seen them in the 
movies. Her books sell like magic. "The 
Philosophy of Love" is the supreme culmi- 
nation of her brilliant career. It is destined 
to sell in huge quantities. Everybody will 
talk about it everywhere. So it will be ex- 
ceedingly difficult to keep the book in print. 
It is possible that the present edition may 
be exhausted, and you may be compelled 
to wait for your copy, unless you mail the 
coupon below AT ONCE. We do not say 
this to hurry you — it is the truth. 

Get your pencil — fill out the coupon 
NOW. Mail it to The Authors' Press, 
Auburn, N. Y., before it is too late. Then 
be prepared for the greatest thrill of your 
life! 



| The Authors' Press Dept. 182. Auburn. N. Y 

Please send me on approval Elinor Glyn's master 
piece, "The Philosophy of Love." When the post- 
man delivers the book to my door, I will pay him 
only $1.08, plus a few pennies postage. It is under- 
stood, however, that this is not to be considered a 
purchase. If the book does not in every way come 
up to expectations, I reserve the right to return it 
any time within five days after t is received, and 
you agree to refund my money. 



^ 



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IMPORTANT— If you reside outside the U. S. A.. 

payment must be made in advance. Regular Edition 
$2.10. Leather Edition. J.?. 10. Caafi with coupon. 



(Eight) 



Make Your Honeymoon 

Dreams Come True / 




"Shattered ideals, broken pi and the di* 

bad habits and tendencies hidden during courtship cl the cau 

misery in marriage, weak, sickly children and divorce Tin 
elements are undermining the family unil and eating away the ba ic fabric 
ul our civilization." — Lionel Strongfort. 

Be True to Your Marriage Vows ! 

Courtship days l») the foundation <'t your future happiness or woe in m 
You have shown the very best >nl<- of your charactei to tl I «irl who has 

faith given her body and soul into your keeping, sin- looks up t" you ;i^ the Prince 
Charming of her maiden dreams tin- answer to her prs . virile 

husband a real red-blooded man capable of fathering healthy little on 

Don't Betray the Girl You Love 

Her eyes are clouded by Romance and her love fur you Slu- cannot know the 
things about your past that YOU know. Her judgment is prejudiced and she cam 
thru the Eyes oi Love your many faults and weaknesses thai arc so apparent I 
else. You fear to tell her that you arc a victim of Youthful Errors, bad habits and 
excesses thai you arc a pitiable apology for a real man. Yet you dare not deceive her 
and wreck her happiness. 

Rout Out the Crop of Youthful Errors 

You have sown a big crop oi "wild oat-.*' You know quite well that the «irl you 
love will reap most of the harvest if you continue in your present weakened contaminated 
and devitalized condition. YOU KNOW THAT — and you know that her faith in you 
as a man would not survive the truth. You are facing the crisis of your life. Your 
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..Colds 

Catarrh 

Hay Fever 

Asthma 

Obesity 

Headache 
. .Thinness 
. Rupture 
, Lumbago 
. Neuritis 
. Neuralgia 

Flat Chest 
. . Insomnia 

Bad Breath 
. Bad Blood 
. . Weak Eyes 

Anemia 

Debility 

Successful 
Marriage 

m other jlIIii 
No matter what al 
i<> you tbal 



.Fear 

.Neurasthenia 
.Short Wind 

Flat Feet 
.Constipation 

Biliousness 
.Torpid Liver 

Indigestion 
. Poor Memory 
. Rheumatism 
. Nervousness 

Gastritis 

Prolapsus 
. Heart Weakness 

Poor Circulation 
. Increased Height 

Easy Childbirth 

Despondency 

Female 
Disorders 

fully 



. Skin Disorders 
. . Prostate Troubles 

Youthful Errors 

Vlt.,1 Losses 

Impotency 
. Vitality Restored 

Falling Hair 
. Deformity (Describe) 
. Stomach Disorders 
. Successful Marriage 

Pimples 

Blarkheads 

Round Shoulders 
. Lung Troubles 

Weak Back 

Drug Addiction 

Healthy Children 

Weaknesses (Specify > 

Muscular Development 

Great Strength 



about II and I «l 



(Nine) 







Is It Worth The Price? 

Success is the result of intelligent labor. It is not acquired 
overnight. It comes thru well-directed efforts. The same 
law applies to attaining beauty. All women do not inherit 
this coveted gift but they can cultivate the integral parts that 
go to make up the whole — health, correct grooming, grace, 
charm, and a knowledge of how to dress. If one does not 
possess these things, time and labor will bring them. The 
means will justify the end. Beauty is the best means to 
employ. 



WHAT YOU CANNOT AFFORD TO MISS 

How to Breathe and Build the Body 
The Importance ox V itamins 
Personality and Perfumes 
Early Fall Fashions and Style Service 

The Memoirs of Mme. Vavara 

A new serial with a wide appeal. If you are a young girl standing at the threshold of 
life, the frank confessions of a woman who has lived deeply will be as guide posts on 
your journey thru life. If you are a mature woman you will appreciate mure fully 
the wisdom and truth embedded in the account of Mme. Vavara's life as written by 
herself to her youthful ward in a French convent. This clever woman, famous for her 
beauty and brains, does not hesitate to conceal anything in her own life which she be- 
lieves will tend to instruct this young girl. This story by Stanton Leeds is one to enjoy 
and to remember. 

November 
Beauty Secrets for Every Woman 



(Ten) 







The Second Crusade 

An Explanation and an Apology 



A CERTAIN person whose opinion we re- 
spect has said that an editorial should be 
more impersonal than our last one was — 
the one about the movies as a field of incredible 
contrast. But we cannot be impersonal about Mrs. 
Wallace Reid and her heart-breaking picture, 
"Human Wreckage." 

We confess to being among those doubting ones 
who questioned the motive and criticized the taste 
of this unprecedented film. We went to the open- 
ing night in Xew York frankly, out of curiosity, 
legitimate perhaps, but with no idea of praise or 
even of respect. 

And we, like many others remained to pray. 

No one could impugn the motives of Mrs. Reid 
if they had seen her standing up in a box, after the 
picture, while flowers in gracious tribute were laid 
at her feet ; standing there white faced and weary- 
eyed, the tears rolling down her cheeks, very near 
to collapse, a tragic, pitiful, inarticulate figure. 

Here is a gallant crusader who was not deterred 
by an adverse public opinion ; who bared her 



grief that others might see and be warned; who 
has sacrificed herself to the common good ; who has 
consecrated her life, more than nobly, intelligently, 
to the elimination of a ghastly traffic. 

"Human Wreckage," is a profoundly moving 
picture handled with dignity and restraint. There 
is nothing cheap or sensational about it. Quite the 
contrary. A tremendous and unmistakable sincerity 
animates everyone who had anything to do with it. 
It is a grim, terrific tragic indictment of stupidity 
and criminal indifference toward these "living 
dead," whose pitiable army is vaster than you or I 
ever dreamed of. 

Altho our motive be likewise misinterpreted, we 
say in all sincerity, that every man and woman in 
the United States should go to see this picture ; 
not as a Christian duty, but for the sake of being 
intelligently informed on a subject that has been 
heretofore shrouded in darkness. We realize, of 
course, that the only effectual appeal is to the 
emotions first. . . . Well . . . go to see the pic- 
ture. . . . That is all we ask. 



(Eleven) 







Photograph by C. Smith Gardiner 



The second generation of the movies is at 
hand. We hope for this boy who has 
adopted at the age of thirteen the profession 
of his father, that he may have the vision 
and courage of that ■well-loved star 



DOUGLAS FAIRBANKS, Jr. 




'hotogriph £ b? George Maillartl Kcsslere 



PEGGY SHAW 



Another Follies girl who has made good on 
the screen. Well, why shouldn't they.' She 
made her debut with Fox a year ago and 
will be starred soon in "The Arizona Ex- 
press," to be made in the West 







Photograph by Edwin Bower Hesser 



Who has the opportunity of a lifetime in 
"Greed," as the ill-fated Trina Sieppe 



ZAZU PITTS 




Photograph by White Studios 



JAMES K1RKWOOD 



Whose performance in "Human Wreckage" 
is to be commended for its power and restraint 







Photograph by Freiilich 



This man is almost too handsome. We would 

suggest that some director "shoot" him. It would 

certainly improve his picture. You may see him 

in "Merry Go Round" 



NORMAN KERRY 




DOROTHY DALTON 



Is vacationing in Europe after the manner of 

movie stars. She will spend a great deal of time 

in England with her father, and possibly make 

a picture or-er there 







The Camera 



Mr. Bausch Lens 
HARRY 



I DO NT know about a man and his valet ; but I know 
that no woman is a heroine to her cameraman. I 
know; I am one of them. From first to last I have 
photographed about every star in the business. 

The hardest woman I ever tried to photograph is Ina 
Clare. She has a difficult mouth which requires very 
careful treatment and she will not co-operate with you in 
this treatment. 

She can be very charming when she chooses ; but she 
is very sure of her position in the theater world and she 
isn't too much excited over the movies anyhow. The 
consequence is she will not give you the right amount of 
help necessary to solve the problem of photographing her 
difficult mouth. 

On the other hand, there is Mary Pickford. Mary 
is not the cinch to photograph that some people seem to 
suppose. Oddly enough, only one side of her face is 
ever photographed in profile. 

This was the most exasperating lesson that Ernst 
Lubitsch, the German director, had to learn when he 
began to direct in the Pickford studio. 

In Europe they have an entirely different standard of 
art. The public in Europe does not seem to insist that 
every heroine be fatally 
beautiful. They recognize 
the fact that plain women 
might also have a life story. 
In America, the movie pub- 
lic is frankly indifferent to 
the fate of homely women 
-on the screen at least. 

The first lesson that the 





astonished Lubitsch had to learn was that Mary Pickford 
had to do all her emotional storms with her right side to 
the camera. 

Mary helps the cameraman however so skilfully and 
adroitly that it is a cinch to take her pictures. You have 
to take care not to make her face look too long — and you 
leave the rest to Mary. In the projecting- rooms she 
studies her own, face as an Indian trailer studies foot- 
prints. She is a past mistress of make-up and she knows 
how to control her acting to co-operate in the fullest 
way imaginable with the cameraman. 

Marguerite Clark in her younger days, had a round 
baby face, but she was not so easy to photograph for all 
that. She had a way of wrinkling her brows that abso- 
lutely wrecked your best close-ups unless you arranged 
the lighting with great skill. The job of photographing 
Marguerite Clark was also complicated by her sister. This 
older sister is Miss Clark's business manager and general 
guide, philosopher and friend. She makes a great deal of 
trouble on the sets by interfering with the arrangements 
of the cameramen. 

Another girl who frowns away many good close-ups is 
Blanche Sweet. Like a lot of girls with real characters 

behind their beauty, Blanche 
has somewhat irregular 
features. She has a great 
width at the cheek bones 
and a face that tapers so 
rapidly- that it gives her the 
appearance of having hol- 
low cheeks — which she 
really hasn't. This effect 



Photograph by 
Arnold Genthe 



Did you know that Blanche Sweet (left) 
frowns away many a good close-up? And 
that Billie Dove (above) is particularly 
hard to photograph? And that John Barry- 
more (above) 'looks beautiful from any 
angle? And that Nazimova (right) directs 
her own lighting and so forth? 



Photograph (left) by 
Evans, L. A. 



Photograph by 
Hoover Art Studio 




(Eighteen) 






Man's Angle 



Confesses To 
CARR 




lias to be overcome with lighting. Another difficulty you 
have to look out for with Blanche Sweet are her eye- 
brows. When she frowns, it gives the odd effect of eye- 
brows that grow straight across and meet. I do not wish 
to give the impression that she is not a beautiful girl ; 
because she is. The difficulty is that she has certain fea- 
tures which cast photographic shadows. 

To my mind, the most beautiful girl on the screen is 
the hardest to photograph. This is Mae Murray. With 
that little rose-bud, bee-kissed mouth, her aura of golden 
hair which stands about her head like a golden haze ; and 
her lithe beautiful body, she is a perfect picture. But 
these effects are not easily achieved. The cameraman 
has fairly to burn her up with lights. 

She spreads a white coat of liquid make-up that is like 
kalsomine over her whole face before she goes on the 
let Her bare legs and body are practically painted white. 

On the sets, they put a strong back light behind her 
which makes that beautiful hazy effect. They hit her 
full in the face with strong sunlight arcs. I dont see 
how she ever stands it without going blind. No girl on 
the screen ever used anything like the light and the make- 
up. She is very particular about her photography, but 
she knows her job and 
knows how to help the 
cameraman. 

The direct opposite is 
Lillian Gish. She uses al- 
most no make-up at all. 
Beyond a little powder, Lil- 
lian is photographed just 
"as is." Where most girls 





spread on make-up, Lillian gets the same results by skil- 
ful lighting. She is lucky in having the same photogra- 
phers for many years. Billy Bitzer has reduced pi. 
graphing Lillian Gish to an exact science. He knowi 
every curve and angle to shoot from and to shoot at. 

Carol Dempster is a photographic problem ju>t in the 
exact ratio that you can get her to do her hair up on her 
head. Her eyes are lovely. When she raises her hair 
up on her head, her eyes become the center of the picture. 
When she used to insist upon wearing it in long cork- 
screw curls, it framed her face and made it lo6k thin. 
Like most young girls, however, she thought it made her 
look too old to wear it on top of her head. 

The most extraordinary instance of a woman refusing 
to help the cameraman was Doris Keene. She is too 
great an artist to be young and the evidence of her 
maturity is beginning to show at the corners of her mouth. 
In "Romance" she absolutely insisted upon using the 
same costume she had worn during the long and tri- 
umphant runs in London. One feature of this costume 
was a pair of jingly crystal earrings. The result wat 
that your eye was caught by the glitter of one ear- 
ring and traveled instinctively to the other earring, 

straight across the line of 
her mouth. 

One stage star nearly 
drove the cameramen to 
drink ; that was Laurette 
•Taylor. 

She is a high-tempered, 
headstrong woman of bril- 
liant mind and obstinate 



Photograph by 
W. F. Seel > 



Photograph © by 
Strauss Peyton 



You wouldn't believe that Tommy Meighan 
(left) was a difficult camera subject; or that 
Constance Talmadge (above) was even 
more so; or that Bert Lytell (above) was 
in the same class, as well as that appealing 
Carol Dempster (right). Now would you? 




(Nineteen) 



CLASSIC 



^nilMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIUMIIMIIIIIIIUIIIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Illlll 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 

Life's Little Ironies in Verse 



By 



EXPERIENCE 
Constance Blessing Smith 



(~)H, once I loved deeply, 

(Some women do this; 
They fling all their freedom 
Away in a kiss.) 

Yet, wisdom or folly, 

That course lived its day, 

At present I'm using 
A much safer way. 

For now I love lightly, 
I love with a laugh, 

The thrill's quite as pleasing, 
The trouble — one half. 



will. When she made "Peg O' My Heart," she presented 
a fearful problem. She is a woman of mature years, as 
everyone knows, with a grown son. To make her look a 
girl of fourteen was considerable of an undertaking. 

When the picture was first started, she was very wilful 
and insisted on having her own way in every particular. 
She nearly drove the cameramen to suicide. 

Finally they resolved to discipline her. They took the 
pictures exactly as she directed them to be taken. Then 
they took her into 
the project ing-room 
and showed her 
how they looked. 
That cured her. 
From then on, she 
was a lamb in their 
hands and turned 
out a marvelously 
beautiful picture in 
which most of the 
close-ups, by the 
way, were made by 
placing her at quite 
a distance from the 
camera and using a 
telescopic lens. 

Even some of the 
great beauties of 
the screen are hard 
to photograph. One 
of the most difficult 
I ever saw was 
Billie Dove, who 
was a wonderfully 
beautiful girl. She 
had a bad shadow 
on her face. If you 
threw the light on 
her face to kill this 
shadow, you made 
her face look flat 
and broad. 

The same is true 
in a lesser degree 
with Constance Tal- 
madge. Constance 
is one of the most 
beautiful girls on 
the screen and one 
of the hardest to 
photograph. 

Norma Talmadge 
is a very curious 
problem for the 
cameraman. In any 
one position. Norma 
is not difficult to 
"shoot"' : but when 
she turns her head, 
it spoils the show — 
in other words, any 
one aspect of 
Norma is a compar- 
atively easy task, 
but changing versions of Nonna's face are difficult. 

Alice Joyce is much more beautiful than she screens; 
Mrs. Wallace Reid, much more slender; Priscilla Dean 
not nearly so tall ; Andree Lafayette taller, Marion 
Davies. fairer, face and hair, and so on. It is just as 
true to say that the camera changes us all (a little) as 
to say the camera does not lie. I can see both sides of 
that argument. 

Nazimova would be a homely woman but for the art 



UNRECOGNIZED 

By Frieurich vox Falkexburg 

T~)0 not weep, little stars, 

Because the meteor 
Passed you by without a 
Word of friendly greeting. 

One I have known for years, 
Today rushed swiftly by 
Without a smile or nod . . . 
And yet, I do not weep. 



By 



ROOTS 
Dorothea Dali.ett 



FATALITY 
By Helexe Mullins 

LIE had lived so long 

In despair's shadowed cell 
That when success came 
Its sudden brilliancy 
Blinded him. 

It was his destiny 
To live in darkness. 



WHY? 
By Lee Shippey 



WfE rail at life, 

And yet we 
To see a white 
Passing by. 



sigh 
hearse 



ANACHRONISM 
By Albert Brush 

VOU lean indolently 

Against the ship's rail, 
There are six wild geese in the sky 
And three white-breasted birds 
On the water. 

What right have you 
In a Japanese print? 



J I Ml, 1 1 II II Illlll t II II II ill!!!' illinium Milium I I.IIIIUIIIHIIIIMIIH.IIIIIIM'IIHI llll 1 1 



and brains she u>es in getting herself photographed. 
Every close-up of this great Slavic actress is practically a 
painting in which she herself, dictates the lights and 
shades and composition. 

Mary Astor, a new comer to the screen, has about the 
most perfect set of screen features I have ever shot. 
Actually, this young girl is rather insignificant-looking 
but she photographs like a million dollars. There is only 
one bad angle and that is a three-quarter view with her 

head drooped. 
These youngster- 
are no trouble at all. 
They do just what 
the director tells 
them to. Give them 
a few more years 
tho, and they'll be 
directing the direc- 
tors. It is those who 
are midway in their 
experience that 
make the trouble 
for us. and cause 
endless retakes. 

What applies to 
the women also ap- 
plies to the men of 
the screen. 

The easiest he- 
star to photograph 
is John Barrymore. 
He has a profile 
like a cut cameo. 
His manner i - 
charming ; every at- 
titude is grace per- 
sonified; his fac< 
one of the most ex- 
pressive and mobile 
it has ever been my 
privilege to shoot. 
It is true that he is 
a bit temperamental 
and one can never be 
wholly sure that he 
will be there, but if 
he is. there is no 
trouble. 

Valentino would 
be easy to photo- 
graph were it not 
for his ears. He 
has very small and 
misshapen ears 
which the camera- 
man has to be care- 
ful to hide. 

Tommy Meighan 
is rather hard to 
photograph, an< 
is Bert Lvtell. 

Dick' Barthel- 
mess, altho willing 
and anxious and 
handsome, presents considerable difficulties. His face is 
somewhat broad and has to be watched carefully. Ramon 
Navarro is another handsome youngster, but be is easy. 
Character actors always present a stiff problem. Some- 
times their make-up is so grotesque that the mere elonga- j 
tion or exaggeration of a single feature will burlesque a 
most serious effort. For all its problems my job is 
interesting, a regular handbook of human psychology. I 
wouldn't give it up for the world. 



I HAVE chased a butterfly, 

I have dreamed a dream, 
I have floated miles and miles 
Down a summer stream. 

I have always thought to find 

Deep reality, 
Something always led me on 

But eluded me. 
Will I ever find that thing 

Rooted like a tree? 

Passing loves I've often felt 

Deep within my heart. 
Stab they did but passed away — 

Of me were no part. 

Now my own has come to me, 

Happiness I've found ; 
I am rooted like a tree 

In the solid ground; 
No more errant, restless thoughts, 

No more roaming 'round. 



B] 



DOULEUR 
A. R. Wagneb 



WHEX a girl 

With youth and prettiness, 
Glances at a man 
Demurely under shadowed lids. 
With carmined lips apart 
In half a smile. 
And elicits no response — 
It is worse 
Than the tragedy 
Of the first grev hair. 



iimiiiiiiiiiiiiMmimitiiiiiititil 



(Twenty) 







MARIE-JEANNE DU BARRI 

Famous Heroines No. 1. Posed by Claire Windsor 

Here is Madame Du Barri's own description of herself taken from her memoirs: "My lovely face, 
my locks which waved most enchantingly over my eyes, which were melting, sparkling and liquid 
as crystal, my mouth, small and red as a cherry, my delicately formed nose, my excessively 
fair skin, my elegant and sylphlike figure, in fact, the perfect beauty of my person made 
my mother conceive the greatest hopes of success." Everyone knows of the tragic "success" of 
the little milliner's girl with Louis XV, that eventually led her an ignominious dance to the guillotine 



(Tzventy-ouej 




There is an air of nobility about Alma Rubens, with 

her sculptural early Italian face, the fine pallor of her 

skin, the remoteness of her eyes. . . . 



Divine Discontent 

By FAITH SERVICE 



Alma is frank, too, frank and direct. She 
doesn't "set the stage." She talks like' one 
young person to another, without an ever 
present sense of "I wonder how this will 
look in print." 

Some gelatin goddesses might, for in- 
stance, think it more judicious not to say 
that they'd leave the screen if they could 
do something else better. Not Alma. Be- 
tween you and me, we hope that she doesn't 
leave the screen even if she does develop 
into an Edith Wharton or an Anzia 
Yzierska or something. For we cant im- 
agine Alma doing anything, even writing, 
better than she does screening. It would 
be a pity to hide her sculptural, early-Ital- 
ian face behind a noiseless typewriter. Her 
art is noiseless, as it is, why not leave well 
enough alone? 

Besides, it will probably seem incredible 
to most fans to know that to be a star, a 
cinema celebrity, is not enough. To be 
feted and adored, publicized and pictured, 
and bowed down to — what more could the 
heart of a maid demand ? 

But the heart of Alma Rubens desires 
more. 

Over the Honey Dew melon at the Ritz, 
our talk went something like this : 

Alma : I- wish to goodness I could be a 
writer. I wish it so much that I've begun 
to try my hand at it, and if I succeed . . . 
(gesture of eliminating several studios.) 

Myself: Well, if you do, what then? 
(Continued on page 76) 



r 



N a recent article 
in a fan maga- 
zine Alma Ru- 
bens is referred to 
as "a Duchess" and . 
other elegant things. 
We get the point, 
exactly. There is an 
air of nobility about 
Alma. Perhaps it 
lies in her seeming 
abstraction ; a sense 
of noble detachment from 
the more harassing and 
mundane things of life; a 
sort of plastic serenity ; a 
garment of glamour cover- 
ing undertones of purple 
and passion. Or it may lie 
in the set of her head, poised 
and proud; in the remote- 
ness of her eyes, when she 
is gazing into space; in the 
fine pallor of her skin, the 
firm modeling of her lips. 

But Alma is red blooded 
as -well as blue blooded. She 
is human as well as haughty. 




(Twenty-two J 




Renee 



This is Alma as we shall see her in "Under the Red Robe." But she 
is not satisfied with motion picture starring. She wants to write. . . . 
She says: "I admire most those people who are able to sacrifice every- 
thing . . . for the sake of the thing they most want to do and can do best" 



(Twenty-three) 




Foreign 

European Studios 
MAURICE 



agree to meet each other later, at a fixed date, to relate 
what has happened during their separation. The girl 
arrives in her luxurious dress, happy at her success, and 
the boy sends a mutual friend with a letter. He cannot 
come, he is very ill, and about to die. But as films now 
require happy endings, George Pearson, who wrote this 
story, was obliged to modify the epilog. And we then 
know that all this is the story of the book our young 
author is writing. 

FRANCE 

It is not the first time that two producers have directed 
together a picture in France. This happened before the 
war at the Pathe studios. And now, two good directors. 
L. Mercanton (who made "Phroso" and many other films. 
one of which, with the late famous stage actress Mme. 
Rejane) and Rene Hervil, have presented their new photo- 
play "Sarati the Terrible." This is a story of adventure 
which takes place in Africa and which has proved very 
lucky to French producers. 

Two brothers who are rivals and who will find at the 
end a nice looking girl who will happily metamorphose 



"' I 'HE English studios are just like 
the American ones," Betty 
Compson said to me when I 
saw her for the first time at the 
studios of the Famous Players- 
Lasky in London, "I mean this 
one," she added, thus confirm- 
ing what Mae Marsh had said 
previously. 

Before us the studio No. 1 
presented the aspect of the 
Paris Moulin Rouge, with its 
orchestra, its crowds of dancers, 
while the electric wings of the 
mills were turning slowly. Some of 
the dancers were considering the Ameri- 
can star with considerable curiosity. On 
his pedestal, near the camera, Graham Cutts, 
the director, smiled at us from time to time. 
"He is a very clever producer," said Betty, 
*'I am glad to work with him, and I like 
the story so much besides." 

"Woman to Woman" is the title of the 
play which ran so successfully in England, 
and which will be the name of the British 
film in which Betty Compson plays lead. 
She will be seen as a dancer of the Moulin 
Rouge, where an Englishman (Clive Brook) 
will notice her and fall in love with her. 
And both will be happy ... at the end 
of the picture. 

"Love, Life and Laughter," otherwise 
called"The Story of Tip-Toes, "the new film 
directed by George Pearson, has obtained a 
legitimate success. It tells us of the adven- 
tures of an ambitious girl (Betty Balfour) 
who succeeds in her ambition to become a 
music-hall star, and of a boy (Harry Jonas) 
who remains as he is, a poor author. Both 







At the top of the 
page is Maria 
Corda as Delilah, 
in the Austrian 
film, "Samson 
and Delilah." Left 
i s little Miss 
Myrtle Peter who 
is appearing with 
Betty Compson 
in the British 
made picture, 
''Woman to 
Woman." Below 
is Pasteur (cen- 
ter) played by 
Charles Mosnier 
ifl the French 
photoplay of that 
name 




Films 

v .1 Glance 
ROSETT 



the eternal triangle into a quadrangle, and 
iti, the villain, are the principal characters 
if tins new photoplay which has many good 
qualities and is among the best pictures lately 
made in France. 

t hi the occasion oi the celebration "f the 
centenary of the great scientist Pasteur, Jean 
Benoit Levy made a picture which follows 
faithfully the principal episodes of the life 
of the tamou> benefactor of humanity. In 
spite oi its actuality, this is a very interesting 
picture possessing the advantage of being 
educational and also at- 
tractive as a story when it 
shows to us how Pasteur 
made, after long hesita- 
tions, his first experience 
on the body of the little 
Meister. The role of Pas- 
teur is perfectly revived 
by Charles Mosnier. 

ITALY 



I had the opportunity 
of meeting Carmine Gal- 
lone, one of the best of 
the Italian producers. 
Speaking to him of the 
nt situation in Italy. 
I referred to what I wrote 
in Classic about my visits 
to that country. 

"You are right." he re 5 
plied, "many mistakes 
have been made in my 
country. A few producers 
among my friends as well 





as myself have seen the danger, 

have decided to take steps to alter things. 
We have formed a Consortium which will 
he for Italy what 'The Allied Artists' 1- 
for the States. It includi 
Righelli. A. 1'alermi and myself. But no 
doubt we shall be joined by others, by 
(iuazzoni (the producer who made 'Mes- 
salina'), for instance. We shall not • 
to pay frequent visits to other countries 
in order to see what is being made there 
and to follow the progress of others." 
Carmine Gallone has just completed a 
[Continued on page 86) 



Above is Albert Bassermann as 

Christopher Columbus, the title 

role of a German film 





At the top of the page is a scene from 
"Jola." a Russian picture in the typically 
Russian manner. Above is Soava Gallone, 
an Italian star, as the daughter from the 
Italian film, ,, The Poor Mother." Left is 
a scene from another desert picture, "Sarati 
the Terrible," a French photoplay with 
two directors 



Photograph by Aubert 



' Twenty-five) 










Scaramouche 

"He was born with the gift of laughter and a 
sense that the world was mad." — Rafael Sabatini 

Ramon Navarro, in a striking study by W. F. Seely in the title role of Rex Ingram's "Scaramouche" 



:.*~>,,l *>- -r 



(Twenty-six) 



Ashes of Vengeance 



By PATRICIA DOYLE 



1AM Anne de Breux. 1 am a little girl and a cripple. 
1 have many long hours with nothing to do, so I have 
decided to write down the story oi mj sister, my 
itiful sister, Yoeland. It is an exciting tale, full of 

thrills and romance, and while it was happening, nobod) 
I much attention to me, but 1 kept m\ eyes open and 
;ned and thought, and my darling Rupert and his — 

that i». Yoeland told me of the things 1 could not see. 

Yoeland's story really began when my brother, the 

Ote itc la Roche, brought home to our castle, M. Rupert 

Vrieacs as his bond servant. The De Vrieacs, altho 

they are Huguenots, are as noble and of as ancient a 

lineage as our own. It is another story how the last scion 

its illustrious family came to be a bond ser- 
vant of ours, and perhaps 1 would better 

tell that first. 
The De Vrieacs and the De Breux 

were bitter enemies, had been for g 

several generations. Altho I can- i I 

not understand how anyone 

could hate either Rupert or 

Charles, the feud between our ^| 

families was started by the 

unhappy and unfortunate 

marriage of Yvonne de 

Marbleu and Raoul de 

Yrieac, and has been 

ended only by the mar- 
riage of But I 

must not tell the end 

of my story first. 
It was after the 

cruel massacre of 
Bartholomew's 

day, when Rupert 

was the affianced of 

Margot de Vain- 

ceoire, another 

Protestant. My 

brother Charles, 

who is irresistible to 

women, who wears 

lace at his wrists, 

tho they are hard 

as steel with gallant 

sword play, had 

started a flirtation 

with the Vainceoire, 

a f roward piece, to be 

sure. He did it mere- 
ly to annoy and har- 
ass his enemy Rupert. 

but the girl, it seems, 

took it seriously, and 

when young Rupert found 

her in the arms of Charles, 

he immediately challenged 

him to a duel. 

Now these are hot-blooded 

times and altho I am young and 

carefully guarded the reports of 

these stirring conflicts reach even 

my secluded life. The Comte de la 

Roche is one of the finest swordsmen 

in France, but Rupert bested him and in- 
stead of taking his life as is customary, pre 

(Twenty-seven) 




Mimd ins Libert; to him with intuiting I do 

not understand these amenii but I know it 

humiliated my brother to a< i epl anything from nil enemy. 
h was intolerable to one of his proud spin' 

life to One he hated, and < bailee dreamed and thought 
of nothing but re\cnge. 

I le got it much sooner than he expet ted it, too. It 
during the terrible days oi August, 1572, and the I 
that Margol de Vainceoire was in Paris and a Huguenot, 

and that Charles was also there and .1 I atholie, that he 
was able to guarantee her safe e-cape from the city. He 
saw tO il thai she was not one of the thousands of mar- 
tyred Protestants whose blood will forever cry for ven- 
geance on the house of the De Medici. The price 

he exacted of Rupert for the safety Of hi> 

fiancee was five years of serfdom in our 

household. He was revenged indeed. 
The ignominy was now I )e Vrn 
but Rupert has borne himself 
nobly and comported himself 
with such exceeding honor that 
out of the ashes of vengeance 
has come at last love, tri- 
i, umphant and gloriou-. 

When Rupert first came 
to Castle de la Roche in 
my brother's train, he 
was treated exactly like 
any other of our servi- 
tors. His mien was 
haughty and unbend- 
ing, not at all that of 
a servant, but he was 
never insubordinate 
in the performance 
of his duties, tho it 
must often have 
chafed and galled 
his proud spirit. 
Charles seemed to 
take particular de- 
light in humiliating 
him and as for 
Yoeland, well, she 
treated him worse 
than the scullions 
that helped in the 
great kitchen. That 
is. she ignored him 
altogether, or if she 
wanted any disagree- 
able duty done she 
would say. "Here, fel- 
ow, take this refuse out 
to the swineherd, and 
make haste to return. I 
want my hound plucked and 
brushed before even." 
Such unwelcome tasks were 
usually left to the lowest meni- 
als in our retinue, and the fact 
that Rupert performed them always 
with a grave and deferential courtesy 
often gave my sister to blush. Yoeland 
was a ravishing woman, with hair like a 
falcon's wing and skin like the red and white 



CLASSIC 




The fascinating Comte de la Roche with his men in the inn 
fought the duel that resulted in intensifying the family 



roses that clambered over the castle wall. When she 
blushed she was more than beautiful. Rupert's mouth 
was stern but his eyes laughed, laughed at Yoeland when 
she ordered him about and that made her self-conscious 
and uncomfortable, and she ordered him about the more, 
and played harder than ever, the great lady. Sometimes 
I was wont to think Rupert did it on purpose, tho of that, 
I cannot be sure. Even so, he must have been dolorous 
indeed to be separated from the lady of his heart and to 
be serving' in so shameful a capacity in his enemy's 



household. 

I loved him from the first. 
so tall and to me, tender as 
the mother I had long since 
lost. He used to carry me 
all over the castle gardens 
in his strong arms, Yoeland 
walking arrogantly before. 
Sometimes Yoeland would 
forget to be cool and severe. 
"Ah, Rupert," she once 
said, in that husky sweet 
voice of hers, that was the 
toast of all her admirers. 
' 'Tis a pity to see you 
thus. I shall speak to my 
brother." 

"Nay, Lady," Rupert re- 
plied, drawing himself up 
proudly, "I pray you say no 
word in that direction. A 
De Vrieac pays his debts, 



He was so handsome and 



ASHES OF VENGEANCE 
Fictionized by permission from the Joseph M. 
Schenck production. Directed by Frank Lloyd and 
starring Norma Talmadge. The cast: 

Yoeland de Breux Norma Talmadge 

Rupert de Vrieac Conway Tearle 

Due de Tours Wallace Beery 

Catherine de Medici Josephine Crowell 

Margot de Vainceoire Betty Francisco 

Comte de la Roche Courtney Foote 

Charles IX Andre de Beranger 

Due de Guise Boyd Irwin 

Andre William Clifford 

Anne Jeanne Carpenter 

Vicomte de Briege Howard Truesdale 

Denise Mary McAllister 

Philibert de Bois Kenneth Gibson 

Father Paul Forrest Robinson 

Lupi Frank Leigh 



no matter what 
it cost him." 

And then Yoe- 
land became more 
aloof and cruel 
than ever. We De 
Breux. alas, are 
cursed with a 
flaming and in- 
tractable pride, 
and Yoeland, high 
spirited and great 
hearted tho she 
was, suffered 
from it too. Even 
after Rupert had 
heroically risked 
his life for u> in 
a battle with one 
of the starving 
wolves that oft- 
times prowl about 
the castle, it did 
not alter her 
mood. She seem- 
ed to resent the 
fact that she. too, 
owed her life to 
Rupert. Of that 
awesome battle. I 
cannot speak, it 
was too terrifying, 
and altho I loved 
and do still love 
my sister dearly I 
fell out of pa- 
tience with her 
for her attitude 
toward so gallant 
a gentleman. If 
I had known then 
as much as I do now, I could have understood that 
because she talked of him all the time, even tho that talk 
was all abuse, was that he interested her more than she 
would have found possible to admit. 

"You think this oaf, handsome little Anne?"' she would 
ask. 

"Yes, truly." I would answer. "And he is no oaf!" 
"Well, I like him not. I find him most ill favored, dour 
and gloomy as a donjon keep. I like him not." 

Affairs progressed in this wise for some time and then 
something happened. Something always happens, give it 
but time. My uncle, the Vicomte de Briege, came one day 

to pay us a visit. He 
brought most unwelcome 
tidings. Denise. his fair 
daughter and my sweet 
cousin, he had betrothed to 
the Due de Tours, a most 
wicked and profligate man 
but of great estates and 
riches. This was grievous 
news to Y r oeland. for she 
loved her cousin dearly; 
and wdien she heard my 
Aves that night, she wept 
a little and I could say 
naught to comfort her. 

" 'Tis sad. sweet sister, to 
marry where you do not 
love," she said, kneeling be- 
side my cot, "and I know 
Denise cares only for that 



where he and Rupert de Vrieac 
feud ten thousand times over 



(Twenty-eight) 



>sic 



impoverished young nobleman, Philiberl de Bois. I \\ i^h 
I might help hei Most certain!) I shall return with '>ur 
Uncle and give hei whal solace 1 ma) Fan you well, 
bantling, and the good ( k>d keep my little ^nne tree from 
pain while 1 am gone. I shall take De \ rieai as lacqw 

"Ah, sister," 1 entreated, "subject him not to this 
further humiliation." 

"He i- our enemy, the enemy of our house," she 
peated in a resolute voice, as tho reminding herseli 
that fact. 

\ml so, when my uncle returned to the Chateau Briege 
mpanied l>y hi> niece, Voeland, Rupert was one of her 
entourage. I hated to see him go. \ltho everyone is 
kinci to me here, from Nannette, my tirewoman, up to 
Yoeland, 1 am often lonely. Rupert \\a> now my dear 
friend, m\ true knight, and when we had to part I gave 
him a talisman. as ladies always do when their knights 
ride a-venturing, to have and to hold while he should be 
away. It was a lock of hair, the smooth, fine flaxen hair 
clipped from the wax doll Charles had brought me from 
Brittany. 1 wanted to give him a lock of mj own, hut 
1 wasn't allowed to cut it and 1 knew it wouldn't really 
matter to Rupert. 

They found a gay party at the Chateau when they 
arrived. There was a temporary truce between the Catho- 
lics and the Huguenots, and a great many of both sides 
were there, including 



occupy hei thought* that when the I'm de i 
arrived to pa) I and prompt 

attentions from I lenise to thi more sti ik ii 
made no effort to conceal hei dislike of the man 

he impressed b) the imposing following he 
broughl with him. More and moi thought 

Rupert, but proud maul that would not let him 

see it, only spared him an) further humiliation 
hands. 

At a gl ' later in thi 

drank too much wine, became intO> i< ated b) tl 

and quantit) of m\ uncle's hospitality b) the abusi 
n rather and bo far forgot his high station as to kit 
little kit. hen wench. The girl's loser tried right valiantly 

to protect her and the wicked Due ran him thru without 

any more ado than one would -tick a wild hoar at a hunt. 

This foul murder, for such it was, so enraged the n 

cenaries that they determined upon I And who 

can sa) that these lowly folk had not a truer idea of 
justice than the high-born lord-, who held them in I 
Suffice it to say, they planned an attack on all the men, 
of the household, including my precious Voeland. 

But the ever vigilant and valiant Rupert learned of their 
plans and caused my sister to take refuge in the turret 
room, with sixteen of his men who had come with Andre 
to see their lord once more, to defend her. Thru a mis- 



Margot de Vainceoire, 

the woman for whose 
> a f e t y R u pert had 
pledged five years of 
minions servitude. 
This beautiful sacrifice 
of honor had been made 
in vain, a- it subsequent- 
I) proved ; for she ac- 
cepted the suit, that very 
night, of a nephew of the 
Due de Tours, and sent 
hack Rupert's ring and 
the news of her engage- 
ment by Andre, his trust- 
ed henchman whom he 
had left with Margot for 
her protection. She must 
have been a poor thing 
indeed to jilt so fine a 
man as Rupert and that 
he should have grieved 
over so faithless a crea- 
ture, cause- me discom- 
fort to this day. It was 
perhaps a greater blow 
to his pride than to his 
heart ; and to think he 
had to keep his oath of 
sen ice, tho naught could 
come of it; to have 
to endure the humilia- 
tion of a servant's lot 
and no reward at the 
end of it. 

Ah. well, these things 
are ordered for the best 
1 am sure. Altho I have 
not lived very long, I 
ha\e had long times in 
which to think, and I 
discovered that this blow- 
had softened Yoeland's 
heart toward him and 
piqued her intere-t as 
! well. So much did he 



Catherine de Medici persuading her son, the weakling Charles IX, to sign the 
order for the bloody massacre of St. Bartholomew's day 




(Tzrenty-nine) 



CLASSIC 




Yoeland de Breux takes leave of her brother as she is about to pay a visit to her uncle. Rupert is now her lacquey 



taken tho understandable sense of hospitality Yoeland 
insisted that the Due be allowed to join them. This 
proved a very serious mistake, for the men outside then 
became more determined than ever to get the Due. 
Inflamed by good red Burgundy and exhorted by the 
half-wit serving-maid, they stormed the turret-room. 
Right valiantly Rupert's men fought to 
save the lives of their little garrison. 
They were outnumbered two to 
one and their besiegers held 
the point of vantage be 
sides.- I am thankful 
I did not know about 
this until it was over. 
I could scarce have 
lived thru that night. 
One by one Rupert's 
men were killed or 
wounded. The stone 
steps ran with their 
loyal blood. The de- 
voted Andre was 
mortally wounded and 
died in his master's 
arms. So perilous had 
their position become 
that my brave, my 
peerless Yoeland 
seized a sword, forgot 
her maidenhood and 
fought courageously 
beside her defender. 
Then Rupert's doub- 
let was ripped open 
by a ferocious sword 
thrust which pierced 
his side, and he col- 
lapsed. 

That would have 
been the end of both 
my loved ones, had 
not young Philibert 




de Bois and his men come unexpectedly to their rescue 
and put the offenders to rout. Father Paul, who was the 
chaplain of the Chateau, had let himself down from the 
east wing on a rope made of bedding and tapestries and 
swum the moat and never halted till he reached De Bois. 
'Twas a fine brave thing to do, for a priestly man unused 
to the hardships and vigors of fighting. 

Both Yoeland and Rupert told me 
the tale of the encounter, each 
laying all credit and praise 
at the other's feet, tho I 
doubt not that it was 
equally divided be- 
tween them. Rupert 
is utterly fearless and 
Yoeland, for a wom- 
an, the bravest I have 
seen. It was when 
Rupert lay sore 
wounded that Yoe- 
land. of the high 
hand, realized that she 
loved him. Forgot was 
all her pride, her for- 
mer hatred. She let 
him read the tender 
message in her eyes 
and his own, tho they 
were dark with pain, 
answered her in kind. 
She nursed him with 
all care, finding hap- 
piness in the doing of 
it, until one day she 
sat mending his torn 



De la Roche offers the 
Huguenot De Vrieac the, 
badge of Catholicism 
as a guarantee of safety 
for his affianced, Mar- 
got de Vainceoire 



(Thirty) 



CLASSIC 



doublet and cam* across .1 lock of fine gold hair pinned 
carefully in the innermost pocket, 

Alas! She thought it was Margot's hair and thai 
Rupert still loved her. Whereupon she became all cool 
.mil distant again and left the nursing to the servants. 
Rupert could not, of course, understand this change and 
it wounded him deeply so that he was longer getting well 
than need be. M> sistei cherished her grief and dis- 
lintmcnt .in secret anil put on a bold and indifferent 
t for outsiders. If 1 cpuld but have been there to 
iin ! 
I'd take her mind out of its .sorrowful channel, Yoeland 
schemed and put into operation plans for the wedding of 
Denise and Philibert, which was successfully consum- 
mated. But m\ sister's troubles were not yet over ; the 
■ unbearable and trying was yet before her. On her 
back from the wedding, she was captured by the 
Due's men, right on the highway, and carried by them, 
bound and gag- 
ged, back to the 
turret - room. 
There Rupert 
lay likewise 
bound and help- 

"YVhat is the 
meaning of this 
indignity ?" Yoe- 
land demanded 
as soon as she 
A-as released. 

"Peace, my 
beauty," the Due 
replied, "and I 
will tell you. I 
never cared a fig 
for that little 
nouse, Denise. 
Tis you I love. 
Vou are the 
.voman I want 
for my wife, 

ind " he 

lesitated. "I 
nean to have 
••ou." 

Rupert nearly 
nirst his bonds, 
veakened by 
oss of blood, 
ho he was. 

"Never," Yoe- 
and replied, 
lolding her head 
igh. "I despise 
ou." 

"A h - h a," 
lughed the Due. 
matter ! 
'ou love this 
russed fowl, I 
ave disco v- 
red," waving a 
isdainful hand 
nvard Rupert. 
A deep crim- 
en gradually suffused the countenance of Yoeland. 
"Ah. you confess it by your blush." declared the Due. 
\oeland made no reply, only held her head higher 
aan ever. 
"VA ell then, marry me and he shall go free — unhurt. 
efuse and he shall go free— but blind. See !" The Due 
pened a door, behind which was Lupi, a professional 

(Thirty-one) 




4 . . . and so the feud was ended, for neither Charles nor Rupert dared 
displeasure My Lady Yoeland as they both loved her too well. . . . " 



torturer, heating, ovei a little braziei of charcoal, the long 
irom with which he expected to burn out Ruperi 
Yoeland almost swooned with horror. "You shall i. 

she cried OUt "And it he the only way to BaVC bun, 1 

will mai rj even you, scorpion I" 

"Nay, dear lady," interrupted Rupert, "mind bun not. 
I beseech you nol to do tins thing, I had rathei be ten 

thousand tunes blind than sec you wed tO bun." 

"She shall be wed to inc. my friend," sneered the I I 

"but do not distress yourself, you shall not see it, Lupi, 
do your work." 

The evil creature entered tin- room with the red-hoi 

irons held OUt before him. Yoeland, for all her high 
heart, closed her eyes and moaned in horror. I 
Rupert drew in a mighty breath and the hue turned away. 
Suddenly, there was a sound of voices and many mailed 
lists beating on the door. It gave way before the on- 
slaught and Rupert's own men entered the room. Lupi 

they slew with- 
out a qualm and 
awaited their 
1 o r d's orders 
about the Due. 
Rupert had the 
room cleared of 
all but himself 
and the Due and 
there despite his 
wounds gave 
him a chance for 
his life in hon- 
orable duel. He 
was spared the 
necessity of kill- 
ing the wicked 
'man, however, 
by the sudden 
entrance of the 
poor half-wit 
serving - maid 
whom the Due 
had wronged, 
who stabbed him 
fearfully in the 
back. That was 
the end of a 
coward and an 
u n s crupulous 
wretch. It is 
sometimes given 
to these humble 
agents to be the 
instruments of a 
divine justice. 

Yoeland then 
returned to Cas- 
tle de la Roche, 
weary and sad. I 
was so glad to see 
her and Rupert 
that I cried 
tears like a ba- 
by. Whereupon 
Rupert took me 
up in his arms 
to comfort me, 
and pulling out that yellow lock of doll's hair, held it up 
for me to see. "Here," he said, "is your talisman. See 
how faithfully I have kept it for my little lady." 

Yoeland gave one look at the thing, blushed a rosy 
red. and fled. Rupert sighed after her, and I sighed too, 
for I did not even know that they lov^d each other. 
(Continued on 'page 76) 




Photograph by Donald Biddle Keyes 



The Drama of the Decalogue 



Photograph by Edward S. Curtis 



Above is 
Moses with the 
Children of 
Israel before 
the Red Sea, 
on their way 
to the Prom- 
ised Land 




Left is Theo- 
dore Roberts 
as Moses, the 
great patriarch 
and lawgiver, 
with James 
Neill as Aaron 



(Thirty-two) 



Cecil DeMille 

Makes a 

Picture oi 

The Ten 

Commandments 



Cecil De Mille held a contest 
recently which offered a 
thousand dollars for the best 
original idea for a motion 
picture. The winner was a 
suggestion that he film the 
Ten Commandments. The 
pictures on these two pages 
are from the prolog which 
serves to introduce a modern 
society drama. To the right 
is a group of musicians in the 
Pharaoh's palace 







These are the 
Children of 
Israel in bond- 
age to Rame- 
ses II build- 
ing the gates 
of the city 
which he 
forced them 
to erect to his 
glory 



(Thirty-three) 



Elinor Glyn on the Technique of the Scenario 



By AVERY STRAKOSCH 



"IV TO writer 
I V can logical- 
ly object to 
having his story 
hashed about by a 
scenario depart- 
ment, until he has 
thoroly learned 
the movie angle 
of his business, 
and has sent in 
his picture play in 
the right form." 

This is the de- 
cisive statement 
made by Elinor 
Glyn, who after 
years of fame as 
an authoress, and 
as an intelligent 
and charming 
woman, remains 
apparently un- 
spoiled. Talking 
with her in her 
drawing-room at 
the Hotel Am- 
bassador in New 
York, where she 
remained for a 
few days recently, 
before going on to 
Hollywood to di- 
rect the picturiza- 
tion of her novel 
"Three. Weeks," 
I was enchanted 
to discover a 
famous personali- 
ty who admits the 
necessity of pub- 
licity, and who 
even asks to, be 
granted one boon 
from it — that she 
shall be quoted 
correctly. 

Slender of 
figure in a pastel 
negligee of silk, 
copper-red plaits 
of hair about her 

ears, gracing her with the medieval quality of Maeterlinck's 
Monna Vanna, narrow, fascinating eyes of sea green — 
this is the Elinor Glyn of today. It is truly difficult to 
fancy three grandchildren awaiting her return to England ! 

"You know," she continued, choosing her words care- 
fully, the delightful music of a pure English voice slightly 
accentuated, "the modern author should make it a busi- 
ness to master the technique of scenario writing if he 
wants to have firm ground to stand upon, in requesting 
to see his works pictured coherently, as well as artistically. 
Authors in general have not come to the stark realization 
that they must practically do away with the colorful 
beauty of words — a real sacrifice, I grant you. 

"One of the best ways that I know for gaining the 
experience of this new technique, is to place a chair or 




lounge in front of 
a blank wall or 
curtain, and 
seated there un- 
disturbed, im- 
agine one's story 
passing by : the 
figures, the mise 
en scene, all, 
across that blank 
space. You must 
see in thought 
your entire story, 
without the words 
that you have so 
carefully used to 
build up your 
plot. Put it all be- 
fore yourself in 
action. Watch it 
go by, asking al! 
the time, how is 
this? Does it lag, 
or does it gallop? 
Remember, there 
is nothing >o ex- 
plain all this to 
you, the unfold- 
ing of your story, 
but the action. 

"The art of 
writing for the 
movies is as dif- 
ferent from other 
writing, as is the 
art of the violin- 
ist from that of 
the pianist. No 
one would think 
of asking the 
master violinist to 
play the piano 
with the same de- 
gree of skill that 
he would have in 
playing his 
chosen instru- 
ment. Would you 
expect the pianist 
to take up his fel- 
low musician's 
fiddle and do him- 
self justice? No. But, if either one spent an equal 
amount of time in developing the technique for each 
other's instruments, you might then be justified in asking 
for satisfying, artistic results. 

"And so it is, when writing f -r the movies. But !" 

Here Mrs. Glyn stopped for a moment, an expression of 
challenge crossing her face. "When a writer has be- 
come a master of this technique, he has every right to 
complain about the absurd mill thru which his original 
idea is drawn and mangled, changed and distorted, to 
such an extent that upon production he blinks his eyes 
in amazement, thinking perhaps some mistake has been 
made, that it is not really his picture after all ! 

"Every story has to go thru about seven departments 
{Continued on page 78) 



Photograpn by Hoover Art Studios 

Elinor Glyn, the celebrated English authoress, says: "The only 
perfect pictures I have ever seen in America are: "The Four Horse- 
men of the Apocalypse,' 'The Kid,' and Douglas Fairbanks in 'The 

Mark of Zorro' " 



(Thirty-four) 




After Rembrandt 

Albin has gone back to the immortal manner of Rembrandt for the inspiration 
tor this portrait of Richard Barthelmess in the title role of "The Fighting Blade" 



(Thirty- fiie) 




The Promise Fulfilled 

These Newest Stars in the 
Cinema Sky Have Left 
Obscurity Behind 






Photograph by Melbourne Spurr 

ALLENE RAY 

This young girl's beauty is the rare ash-blonde type. 

Since the Brewster Publications discovered her she 

has made good in pictures. She is at present with 

Fox, in "Times Have Changed" 





Photograph © by A I bin 



MARY ASTOR 

This exquisitely lovely girl has climbed 
steadily up the movie ladder in the last two 
years. She, too, is one of our contest win- 
ners, and the last and best news about her 
is that Famous Players have signed her for 
three years. Her first picture for them will 
be "Spring Magic" 



Photograph 
by Apeda 






FLORINE FINDLAY DE HART 

By an imposing list of beauty judges this dainty 
little sixteen-year-old was acclaimed The Ameri- 
can Beauty in our last contest. She is an inter- 
pretative dancer and is dancing both at the Rivoli 
and Rialto motion picture houses 



(Thirty-sir) 






CLARA BOW 
(below) 
Is the little ingenue 
flapper who ran 
away with that 
great whaling pic- 
ture. "Down To 
The Sea In Ships." 
She has just signed 
a long-term con- 
tract with Prefer- 
red Pictures and is 
out on the Coast to 
make "Maytime," 
and "The Boom- 
erang." Brewster 
Publications gave 

Clara her start 





VIRGINIA 
BROWNK 

FAIRE 

(below) 

Perhaps you re- 
member her in 
"Omar The Tent 
Maker," or in 
"Without Benefit 
of Clergy"? She 
has gone back to 
Universal City to 
support William 
Desmond in "The 
Skyline of Spruce." 
We found her, too 



Photograph 



hv Lumiere 



CORLISS PALMER 

This charming daughter of the South has given up, temporarily, 

her screen career for the less exacting field of editorial and beauty 

research work, of which, she accomplishes a great measure 




:>gra r h by Ira S. Hill 




Photograph by Edwin Bower Hesser 



As the proof of 
the pudding is in 
the eating, so the 
proof of success 
is in the arriving. 
These beautiful 
and ambitious 
girls were every 
one winners of 
the contests of 
the Brewster 
Publications. We 
gave them their 
chance, and they 
have all made 
good. We are 
proud and glad 
to sponsor their 
artistic develop- 
ment 




(Thirty-seven) 




' Fifteen men on a 
dead man s chest, 
Yo-no-no, and a 
hottle o rum 




"Captain Applejack" 
was a great stage 
success with a long 
New York run. 
Now, those of us 
who missed these 
pirates on the stage 
will see them on the 
screen. The play was 
colorful and full of 
thrills and should 
lend itself beautiful- 
ly to the silent me- 
dium. Fred Niblo 
is directing the pic- 
ture for Metro. The 
girl in these scenes 
is Enid Bennett 




It is almost too 
bad that the days 
of buccaneering 
are no more. 
There never 
could be a mod- 
ern thrill equal 
to a Henry Mor- 
gan or a Captain 
Kidd episode. 
Thanks are again 
due to the movies 
for reviving (and 
safely) the pic- 
turesque picaroon 
and his exciting 
adventures 



(Thirty-eight) 



IE 



The Powers Behind the Screen 

Who's Who in the Motion Picture Business 
By STANTON LEEDS 

Editor's Xotk: This is the first of a series of five articles on the history of 

the busintfS end of the motion picture, and a discussion and description of the 

truly great personalities who have put the movitS on the maf 



POPU1 AK interest in the vital structure and frame- 
work supporting that incredible bonanza, the motion 
picture business in America, has multiplied and in- 
creased to the proportions of a gigantic national question 
mark, since the movie magnates two years ago parted 
the bulrushes and discovered in the bread basket of 
politics, a Moses to lead them from Egypt. This vcar a 
razor-edge has been given that same thirst for informa- 
tion by the government's attempt to discover if there were 
in the picture industry a combination in restraint of trade. 
Reading the Federal Trade Commission's investigations, 
as published in the daily newspapers, people began to ask: 
Who are these persons so prominently mentioned ? Who 
are Zukor, Laemmle, 
Cochrane, Hodkinson. 
Williams, Rowland, 
Fox, Powers, Shee- 
han. Selznick, Gold- 
wyn and so on. and 
just exactly what do 
they stand for? 

Incredible as it may 
seem to those close to 
the tense drama of 
the pictures' business 
and politics, they do 
ask these very ques- 
tions, just as a year 
before they demanded 
to know why on earth 
Will H. Hays should 
resign as Postmaster 
| General, even to head 
the chamber of com- 
merce of motion pic- 
tures, even for $150,- 
000 a year. 

"Search me !" said 
the man on the street. 
Even those who 
should be better in- 
formed, who see fur- 
ther than the gifts of 
a bankroll, who look 
far down the widen- 
ing avenue of the fu- 
ture where statesmen 
are bound to adven- 
ture, even these 
shook their heads over 
Hays, muttering. 
"How are the mighty 
fallen!" 

For years there has 
hung over the picture 
business, now the 
country's fourth larg- 
est, bootlegging excepted, an obscuring fog. thickest 
of all in its sanctums. 

Few have been told what's what, who's who. behind 
the screen. Most of us, too, are all too inclined to forget 




Adolph Zukor, perhaps the most important figure of the 

cinema today, is compared to that tremendously powerful 

and diplomatic statesman, Disraeli. He is president of the 

Famous Players-Lasky Corporation 



that the golden-haired l: i r 1 -. . the laughter-coaxing come 
dians, the stories thai entrance us at the cinema, arc no 

more than the advertisements of a gold mine, the herald* 
of an army, an army with commanders and even a field 
marshal who foresaw, in part, the mass impact of pic 
tures upon the hearts and minds of a world of people. 

Foreseeing it, he attempted its- control. The attempt 
brought disputes and battles. Came the peacemaker, then. 
but to explain why and how he came, to suggest some- 
thing of the vision before him, something of that vast 
and majestic view of an unconquered empire of emotions 
— to do this convincingly, we must go back a way. 

It need not be too long a way. The history of the 

motion picture starts 
in the eighties with 
experiments that led 
to patents, but it was 
not till early in this 
century that the Mo- 
tion Picture Patents 
Company and its sub- 
sidiary, the General 
Film Company (com- 
prising Edison, Bio- 
graph, Vitagraph, Es- 
sanay, Kalem, Melies, 
Selig and others), be- 
gan marketing these 
patents at a profit by 
selling to theater own- 
ers, called exhibitors 
in the trade, the right 
to use them along 
with the manufac- 
tured film. 

Because it control- 
led these patents, the 
General Film Com- 
pany was the only 
source of supply. The 
little arcade owners 
found themselves 
soon in a state of 
feudal dependence. 
This is shown by 
court records. Ex- 
hibitors, those who 
dared, protested, and 
among these last was 
Adolph Zukor. at that 
time, ten years ago. 
the owner oi several 
nickelodeons in the 
vicinitv of New 
York's 14th Street. 

To the great ones 

in the General Film 

Company the name meant next to nothing, so, when he 

called, they kept him waiting. One hour. Two hours. 

Three ! While he waits, observe him. 

(Continued on page 81) 



PhotoRravn t>y 



(Thirty-nine) 



These are the 
first pictures 
to be taken of 
the beautiful 
Italian villa 
that Harold 
Lloyd has 
built at an ap- 
proximate cost 
of two - hun- 
dred thousand 
dollars 




The home, of 
which the pic- 
ture on the 
left is the ex- 
terior, is lo- 
cated in the 
most exclusive 
section of Los 
Angeles, the 
W i 1 s h i r e 
district 




A corner of the recep- 
tion hall with its two 
fine old chairs, its 
grandfather clock, and 
its many spindled rail- 
ing. The woodwork 
is oak 



Here is the lucky 
Mr. Lloyd and the 
fortunate little Miss 
Davis on their own 
front lawn 




One of the guest rooms 
which is done in orchid 
and a delicate green. 
The rugs are soft grey 
velour. A room of 
comfort, convenience, 
and charm 



The Lloyd romance 
seems to us a par- 
ticularly happy one. 
They certainly seem 
satisfied 



(Forty) 



Hollywood 
Homes 



No. XII 



Exclusive views of the 
beautiful new home 
Harold Lloyd built for 
his bride, Mildred Davis 





Above is the breakfast-room in coolest 
green and ivory. It looks out on a little 
covered portico that faces the tennis 
court. On the tiled floor of the portico 
is a famous urn, one of the rare pieces 
of Capo di Monte in this country. It 
has been in the Lloyd family since the 
sixteenth century. Below is the south 
side of the reception-hall, with a price- 
less old hand-wrought chest and "The 
Storm," by Colone, a German artist 



Above is one end of the large and luxurious 
living-room. Its color scheme is rose and 
grey and Alice blue. Here the Lloyds have 
collected many art treasures; the pictures are 
some of them famous originals; the desk is 
a beautiful piece, hand carved; the table, an 
antique, and so on. Here too, they are "at 
home" to their friends. It had to be a big 
room to hold them all 




■Forty-one ; 



I 




Photograph by Bloom, Chicago 









I 



HAVE spent most of my liberally 
literary career, well, liberal anyway, 
writing about movie stars, ingenues, 
vampires, grande dames, ad lib. And I 
would be hard put to it to remember one 
who was not possessed of pulchritude of 
one sort or another, many who were 
bearing the banners of an abortive youth 
and almost none who did not bear' in' 
some wise a first or second cousinship to 
the well-known bisque doll, or "Cy- 
therea,'' or something. 

Few, if any, are frankly what they 
are. Few have struggled long and dis- 
couraging years, bringing up a family, 
doing their own work, constantly going 
without this or that, constantly frightened by the 
twin Ogres, Bread and Rent, and still preserving 
within themselves, intact, the triumphantly unex- 
tinguished torch of Art. There are so many ways 
out of this, when one is young and pretty, so many 
short-cuts, so many detours. 



An Old Story 

Told to FAITH SERVICE 



Vera Gordon is what she has always been and 
must always be — herself. She haB in incal- 
culable measure the sympathetic, world-endur- 
ing, passionate and patient artist-soul. To 
the left is a character study and below her 
latest portrait. We shall see her soon again 
in "Potash and Perlmutter" 



But Vera Gordon has justified my faith in many 
things — even stars. Here is one "artist," and she 
is that, who has travailed and come thru. Oh, it's 
an old story, I know. All opinions to the contrary, 
I believe that mute, inglorious Miltons have lived 
and loved and died . . . still mute and still in 
glorious. But it ceases to be an old story after ont 
has come thru. Then is the test called acid. Fail- 
ure is easy to bear for great and humble souls. But 
Success ! Success is another matter. Many a great 
and humble soul, stoically simple and erect under 
the most bludgeoning blows of obscurity, has faced 
about and showed a front of brass, when Success 
has come. 

But Vera Gordon is what she has always been 
and must always be, Vera Gordon. Herself. She 
is stout. And she doesn't let it annoy her. She 
dresses plainly and without any attempt at re-mak- 
ing herself. If you saw her coming out of the door 
of her apartment, you would rate her as merely 
another Jewish woman going to market to buy 
matza for the "fem'ly." That is, if you didn't look 
(Continued on page 79) 



Photograph 
by Mishkin 







(Forty-two) 



i 







PhotogTaph by Nickolas Muray 



JEAN ARTHUR 

This young charmer was selected by a prominent group of New York artists in an 
unpublicised campaign by William Fox for new leading lady material. She is to be 
featured with John Gilbert in "Cameo Kirby." This, we think, is a remarkable tribute 

to her ability 



(Forty-three) 




Above is Claiborne Foster, the girl 
of "Two Fellows and a Girl," the 
newest Cohan success, which runs 
true to form. That is, it has been 
persistently rapped by the critics, 
yet fills its house nightly. Below 
is a scene from the same play with 
Claiborne Foster, Ruth Shipley, 
John Halliday and Allan Dinehart 



The 

Photographer 

Takes 

the Stage 





Above is Lucile La 
Verne as the Widow 
Cagle in "Sun-Up," a 
really remarkable 
drama put on by the 
Provincetown Players. 
So great has been its 
success that it moves 
up to Broadway this 
fall. Classic recom- 
mends it 



(Forty-four) 



I 




Photogra 



Above is Ben 
Ali Haggin's 
beautiful 
living curtain 
for the new 
Ziegfeld Fol- 
lies. He calls 
it simply, 
"Lunette" 



Photograph by Muray 




Photograph by White Studios 



Classic's 

Monthly 

Department 

of the 

Theater 



Left is Martha 
Bryan Allen in 
"The Devil's Dis- 
ciple" and right, 
by way of con- 
trast, is Elsie 
May in "The 
Passing Show Of 
1923" 






Left, Eliza- 
beth Brown 
and her danc- 
ing partner, G. 
G. Sedano, who 
will contribute 
one of the 
most artistic 
and unusual 
dances this 
fall to the 
vaudeville 
stage 



Photograph by White Studios 




I Forty-five) 



M 



USIC cue for the love scenes between Flavia and 
Rassendyl in "Rupert of Hentzau" : "I Flavia 
Truly," by Carrie Jacobs Bond. 

4* 4* 4* 

"Anyhow," said our peerless pal and critic at the above 
mentioned movie, "Elaine Hammerstein's interpretation 
of the Queen is consistent, if nothing else." 

"Yes," we answered — and you'll die laughing — "the 
Flavia lasts." 

•J, ►£. if 

At the climax of the most passionate tete-a-tete be- 
tween the queen and Rassendyl, a subtitle remarked: 
"W hat is life without the one you love?" 

"You said it," intensely muttered one-of-those-for- 
whom-the-movies-are-made. No doubt these grown-up 
eleven-year-olds have run right down thru history. "Give 

me liberty or give me " thundered Patrick Henry in 

1775. 

"Th'ow 'at gemmun a fish, suh!" remarked one of the 
members of the revolutionary convention. 

4* 4* 4* 

By the way, dont deny your- 
self — if you are that sort of 
person — the pleasure of 
seeing the first part of 
"Lawful Larceny." 
It's Naldi . . . 
but it's nice ! 

4* 4* 4* 

In the New 
York Tribune , 
Harriette Un- 
derbill speaks of 
Baby Peggy as 
being four 
years old. On 
the same day, 
Quinn Martin, 
in the New York 
World, discloses 
her age as six. 

And yet both of 
them, we'd bet, 
would hop on some 
poor director if he 
made the slight error of 
having an armored tank 
in the Battle of Hastings. 

4* 4* 4* 



They agree, however, that Baby 
Peggy is the most talented child 
actress on the screen. The polite 
question is raised whether Baby 
Peggy, with her remarkable intelligence, 
is eligible to the child motion picture 
actress class. We know of others, in 
their early twenties and thirties. . . . 

4* 4* 4* 

Speaking of Things That Have To 
such as the method in which a movie ingenue 
enters her father's Wall Street office, why 
are the organists in the movie theaters per- 
mitted a constant ego-debauch of what, we 
suppose, they imagine is improvisation? With 
the innumerable modern improvements a four- 
manual organ carries, all these doctors of music 
seem to be able to produce is detached grunts and 



squeals, disassociated snatches and fragments in lacerat- 
ingly sudden crescendos and the Big Bertha-like rumblings 
of the sixty- four-foot diapasons. 

4* 4" 4* 

Such performance on the noblest of instruments per- 
meated our troubled spirit at "Trilby," and Heaven knows 
"Trilby" was irritating enough. And now we have two 
standards to judge a bad movie by. A — one that puts us 
to sleep and B — one that makes us conscious of the organ. 
If something is not done to these organists, we are going 
to join the Kuklux Klan and have every miscreant chained 
to a steam calliope with riveting, blasting and subway ex- 
press attachments, and place them in vaulted cells with a 
triple echo. 

4. 4. •{• 

As a matter of fact, there probably is heavy rivalry 
between the musical directors in the Ritzy movie houses 
and the organists. "You go your way," says the organist 
to the conductor, "and I'll go mine." 

Whereupon the full orchestra and the complete organ 
give a joint rendition of Tschaikowsky's "1812" 
Overture. 

4* 4" 4" 



Fantasie 




"The 



Brass Bottle": 
Arabian sol- 
diers in Jap- 
anese medieval 
armor rowing 
out to sea in 
an Alaskan In- 
dian war-canoe. 
Which evi- 
dently means 
that to Maurice 
Tourneur a 
spade is not 
only a spade 
but a combina- 
tion pogo-stick, 
beach umbrella 
and mashie- 
niblick, as you please. 

4* 4* 4* 

And in "The Purple Highway." 
Madge Kennedy points to a print 
tacked upon her attic wall. She has 
wistfully labeled the picture her 
"Dream Ship." But the picture 
is Maxfield Parrish's reason- 
ably familiar one of an evil 
crew of Moorish pirates 
sailing with the wind, 
hell-bent for trouble. 
Of course you cant see 
that in the movie, so we take 
our carping is out of order. 

4- * 



Or perhaps it's a 
ship. 

4- 4* 



welsh 



4- 
rarebit 



dream 



ate 



Pola Negri, on dit, has forsaken Charlie 
Chaplin to roll those roly-boly eyes of hers at 
Bill Tilden, the tennis chap. Here is a chance for 
some bright little girl or boy to rise and remark- 
that tennis is a love game that keeps the players 
in the courts most of the time. 

(Continued on page 96) 



(Forty- six ) 




m 



The Celluloid Critic 

Laurence Reid Reviews the Latest Photoplays 



w- 



\ 






ITH the fall promising an unusually 
heavy crop of good pictures — so good in 
fact that the producers must needs lease 
several Broadway legitimate theaters to give them 
extended runs, along comes Paramount and steals 
a march on the field. They have heaten the gun 
— to use an expression of cinder-path circles — 
with "Hollywood" which comes as the real saving 
grace of a summer burdened with disappointing 
attractions. Merely a handful have scored and 
these will not reach the open country until the 
leaves have turned a golden russet. 

This "Hollywood" is at once the most inter- 
esting and novel excursion into Picture Land 
that has ever raced across a screen. True, Rupert 
Hughes used a similar idea in "Souls for Sale," but where 
he faltered was in treating his subject without drawing 
upon his imagination. He fol- 
lowed conventional lines in 
conceiving a story which pre- 
sented a girl reaching stardom 
in the movies only after she 
had encountered the cus- 
tomary pitfalls. The manner 
in which she was thrust into 
pictures carried a familiar 
theatric touch, and the intro- 
duction of various celebrities 



Mr. Rcid selects "Hollywood," directed by 
the man who was responsible for "The 
Covered Wagon," James Cruze, as the best 
photoplay of the month. He says, " 'Holly- 
wood' is the most interesting and novel 
excursion into Picture Land that has ever 
raced across a screen" 



of the silversheet bordered upon circus publicity. 
In other words they composed a separate unit — 
a body of stars who had nothing in common with 
the development of the story. Furthermore tht 
author exposed the tricks of the profession — thus 
destroying the illusion. His was an excursion 
into a fictional Hollywood. And one could not 
accept it as real. 

Tom Geraghty and Frank Condon, on the 
other hand, have painted a genuine Hollywood — 
the studio center serving as a background for the 
telling of a semi-whimsical, semi-wistful story 
of a screen-struck girl who, because of the adula- 
tion of her small-town villagers, thought herself 
destined for the heights of stardom. How deftly drawn is 
this character may be appreciated in the modest assump- 
tion of greatness. She thinks she is beautiful and 

talented — yet there is nothing 
of a superiority complex about 
her. Where the authors in- 
troduce a real novel touch is 
in having her fail where her 
plain relatives have no trouble 
at all in posing before the 
camera. 



You can imagine the hu- 
-morous possibilities of such 
a plot — you can imagine the 



I Forty-seven) 



CLASSIC 



Above : 
Cody 



unlimited opportunities to emphasize all the color, back- 
ground and detail of studio life. It is at once humorous 
and tragic, wistful and quaint. 

James Cruze, whose good-luck star is following him 
persistently (he jumped right into "Hollywood" after 
"The Covered Wagon"), has brought out all its spirit, 
vitality, charm and humor. He has deftly balanced each 
element so that it progresses evenly without once adding a 
single false scene. It is another triumph for him — but the 
major honors go to the authors for conceiving a genuinely 
novel play. One may appreciate that it is a well-con- 
structed story in the manner 
which the girl's struggle for 
recognition is visualized from 
the day that she looks on 
enraptured at a movie in a 
typical picture theater back 
home — to the day when she 
realizes that she has failed. 
Each effort she makes to get 
into the circle of Fortune's 
Darlings is drawn with all its 
emphasis. There is a reason 
for everything and everything 
is in place. 

The girl goes to Hollywood be- 
cause her quaint grandfather 
must have a healthy 
climate. One indi 
cation of rhyme 
and reason. 
The old man is 
a type and is 
quickly 
chosen, tho he 
didn't seek the 
job. While we 
are mentioning 
these charac- 
ters, let us 
state that they 
appear the 
more genuine 
because Cruze 
selected them 
from stock- 
thus they appear to be 
everyday folks. Hope Drown 
plays the girl with wistful 
charm and a depth of under- 
standing, while Luke Cos- 
grave is another Frank 
Bacon as the quaint grandpa. 
He undergoes a complete 
metamorphosis in Hollywood 
and really provides a most 
colorful and amusing charac- 
terization. 

So the girl makes the rounds of the 
studios and naturally encounters one star 
after another. You will see there is even a 
reason for their introduction without exploiting their 
fame to catch the shekels at the box-office. Directors, 
casting directors, and studio managers give her the cold 
shoulder. And the details which show her adventures 
on the lots are accurate and interesting. A large assort- 
ment of close-ups are given of Meighan, Doug, Mary, the 
De Milles,'Will Rogers, Bill Hart, George Fawcett, 
Hope Hampton, Ben Turpin — and approximately thirty 
others — including Fatty Arbuckle, whose moment is brief 
as the casting window is closed in his face. 

The biggest mirthful moment is the result of a dream 
visualized by the girl's rural lover as he tosses in a 





Marjorie Daw in 
"Rupert of Hent- 
zau." Below: 
Jackie Coogan in 
"Circus D^ys." 
Left: Madge 
Kennedy in "The 
Purple Highway." 
Right: Shirley 
Mason in "The 
Eleventh Hour" 




Pullman on his way to Hollywood. He fancies her being 
pursued by sheiks 'n' everything. And in every episode 
as long as the dream continues, there is Laurence Wheat 
in his B. V. D.'s shaving himself. He may be on a busy 
corner of Los Angeles or a member of a wild orgy in 
some Arabian palace. But is always shaving. A pic- 
turesque, erotic dream which touches the high spots of 
spectacular appeal, adventure and humor. 

Eventually all the girl's relatives get into the movies. 
Even the rural swain has no difficulty in signing a con- 
tract. The conclusion shows them happily married in one 

of the colossal mansions which 
are presided over by successful 
stars. Twin babies are their 
reward. Even they are selected 
for small bits. And the bird is 
not forgotten. He supplies at- 
mosphere. Thus they all get 
into the movies except the girl. 
And her failure rings true. 

A picture which serves as 
rich and colorful entertainment 
— packed with humor and 
pathos — a picture which also 
serves in stopping screen-struck 
girls from making the pil- 
grimage to Hollywood, think- 
ing that the fortunes of 
the Make - Believe 
world are theirs 
for the asking. 
Such fine story 
interest, such 
excellent de- 
tails — such 
stars in one 
picture make 
it as conspicu- 
ous in its field 
as the Levia- 
than is upon 
the ocean. The 
real Hollywood 
at last. 



Lew 

and 




UNIV] 
SAI 
• < vr „ . 



FR- 
L'S 
Merry- 
Go-Round" possesses senti- 
ment and charm and there is 
at times a definite poignancy 
about it which brings a 
wistful appeal. We wonder 
what Stroheim would have 
made of it had he been 
allowed to follow it thru to a 
conclusion. His successor, Rupert 
Julian, has brought out some spark- 
ling bits — and at the same time he 
allows himself to be swallowed up in con- 
ventional grooves. 
The tale — really a screen version of "Old Heidelberg" 
— presents a sentimental heartache of a pathetic organ- 
grinder who transforms a playboy into a gentleman who 
respects a young girl's innocence. The scene is Vienna's 
Coney Island — Der Prater, and as she grinds out the 
tunes to the stern commands of the relentless conces- 
sionnaire, well played by George Seigmann, there comes 
into her life a gay lieutenant bedecked in a brilliant 
Austrian uniform. There is some counter-conflict when he 
is married to a lady of royalty, but his charter is born 
upon the battle-field. And he returns home after the con- 
venient death of his wife to lift the girl from drudgery. 



{Forty-eight) 



, 



CI ASSIC 




The important factors of this picture's entertainment 
the backgrounds, atmosphere and the compelling pei 
formancc b) Mar) Philbin, who approaches Lillian tiish 
in her poignant moments. 

WK find "Circus Days" (First National) an ideal 
Btorj for Jackie Coogan'a expression, since it 
places him against a background of tan bark and 
big tops, no tale of (.-ircus life has evei failed to hold the 
spectator's attention since its chief qualitj heart inter- 
est i- exposed in every little detail. Where this story 
falters is in 
its planting 
Of lack ic as 

the m n c h - 
abused child 
in a brutal 

uncle's home. 
It ; > easy to 
see that he 
will eventu- 
ally run away 
when the. 
circus comes 
to town. The 
brightest mo- 
ments are 
w h en he 
doubles for a 
tiny bareback 
rider — per- 
forming some 
c 1 o w n i s-h 
stunts 
modeled after 
an act in the 
present Ring- 
ling show. 
The pathos is 
exaggerated, 
thus destroy- 
ing the illu- 
sion of 
reality. And 
Jackie's emo- 
tional gifts 
are sup- 
pressed to a 
great extent. 
A t'rail story. 
bolstered up 
w i t h so m e 
circus i n c i ' 
dent — which 
will interest 
after a 
fashion. 

IF we must 
have pic- 

t u r e s o f 
mythical 

kingdoms, let us at least have them after the manner of 
Anthony Hope's adventurous yarns. "The Prisoner of 
Zenda." and "Rupert of Hentzau." The latter, produced 
under the auspices of Selznick. is a sequel to the other — 
and presents the wily Rupert and his gift at intrigue in 
a conventional s»rt of way. There is nothing about the 
opus to stimulate the imagination — the story being so 
ancient and obvious. But at least it is done ever so much 
better than the volume of mythical kingdom stuff which 
reaches the screen. 

Rex Ingram was missed in the production of the 



Above: Anton 
Waverka in 
l 'M erry-Go- 
Round." Below: 
Mae Murray and 
Monte Blue in 
"The French 
Doll." Right: 
Andree Lafayette 
in "Trilby" 






Photograph by Ed. E. Morrison 



Selznick number, \\ hile it has been dire< ted so thai 
court flavoi is dominant, it lacks the vitality ol 
Prisoner of Zenda." Furthermore, it doei not l> 

"Zenda" made Navari Rupert 

suggested the wily, unscrupulous nobleman mi [ope 

painted him. Lew ( ody i« good in the role, but fail 
color it with the fascinating deviltries I i 
in "Zenda," is much better suited for the part of the I 
than Bert Lytell who never realizes a real kingly beat 
and dignity. Elaine Hammerstein gives a colorli 
formance of the queen, acting as she ha always acted 

without 
inspiration or 

enthn -i.i 

11 looks 
encou ra 

ing to 
Fox turning 

tow a r d t In- 
artistic 
heights. Not 

I that its "Soft 

fl P\ %' J Boile(1 " 
\ H ' Lfc?*^ ■ destined for a 

ft J EjApQFfl sun. but that 

this company 
has packed 
up its wild. 
melodramatic 
troubles in its 
old kit bag 
and has 
ceased mak- 
ing pictures 
for the Toms. 
Dicks and 
Harrys of a 
moron world. 
The above- 
m e n t i o n e d 
piece takes 
Tom Mix out 
of his chaps 
and places 
him in store 
clothes to 
lead a dizzy 
pace in a 
farce-comedy. 
The idea is 
brittle, re- 
volving as it 
does around 
an eccentric 
uncle's will, a 
clause of 
which com- 
pels the heir 
( Mix ) to 
curb his temper for thirty days or lose his inheritance. 
Simply a variation of the "Brewster's Millions" formula. 
There is ample room for the star to attempt some 
comic high jinks — at which he is fairly successful. But 
the picture repeats itself too often — and there is too much 
of Tom Wilson in blackface. The conclusion brings the 
long-awaited release of temper when Mix foils the bad 
man with rights and lefts a la Dempsey. The number stops 
several times to introduce some unimportant hokum, but 
with all its faults, it is Tom Mix's best in a long time. 
(Continued on page 97) 



Above : Barbara 
La Marr and Er- 
nest Torrence in 
Maurice 
Tourneur's fan- 
tasy, "The Brass 
Bottle." Below: 
Tom Mix in "Soft 
Boiled" 




(Forty-nine) 



The Rime of the Ancient Ham 

By A. H. GIEBLER 



After the man- 
ner of Samuel 
Taylor Cole- 
ridge, with the 
hope that the 
imitation, how- 
ever crude, will 
give an affirma- 
tive answer to 




Thomas Gray's 
highly rhetorical 
question: "Can 
flattery soothe 
the dull cold ear 
of death ?" and 
thus keep Sam 
from turning in 
his grave 



A Movie Fan, about 
to ooze himself into 
a Picture Dump, is 
estopped by an aged 
barn-storraer 



It is an ancient Thespian, 

And he stoppeth a Bozo, 
Who, com in hand, would fain attend 

A moving-picture show. 



The Ham press- 

agenteth himself 

somewhat 



No rambunctious termagant, as some 
I moved to laughter, tears ; 

Nor passion tore to shredded rags 
To split the groundlings' ears. 



The Fan thinketh 
he's being pan- 
handled 



And adviseth the 
Ham to take the 
local constabulary 
into his confidence 



The Fan wa-teth 

sore and is about to 

tap the old guy on 

the conk 



But the Ham putteth 
the hypnotic eye on 
him and he is con- 
strained to listen 



The Fan, impatient, craned his neck. 

He took a look inside, 
Saw Usherettes in pantalettes, 

"Say ! Have a heart !" he cried. 

"There was a time, a gladsome 

time " 

"Aw ! Can the chatter, Pop ! 
They're showing 'Fruits of Sin' to- 
night. 
Go tell it to a Cop !" 

He holds him with a skinny hand, 
"There was a time." quoth he. 

"Lay off! Lay off!" The Fan was 
wroth. 
Eftsoon his mitt dropt he. 

He holds him with a glittering eye. 

The Fan, he lit a pill, 
And listens like a husband meek. 

The Old Bird hath his will. 



And runneth on in 
the same strain 



This statement is 

open to question, 

(All actors talk that 

way, however) 



The Fan beareth the 

jazz and his goat 

slippeth its tether 



The Ham comfoTteth 
him 



I reflected Nature's every mood 
With utmost care and quiddity ; 

Erred not in sad or jocund speech 
To e'er o'erstep her modesty. 

I played Broadway in every town, 

'Twas always S. R. O. 
I stood 'em up and packed 'em in, 

At each and every show. 

I never worked a one-night stand, 
Tank circuits left alone " 

The Movie Fan here beat his breast, 
For he heard the saxophone. 

"Why listeneth thou ? That sound but 
tells 

Of a comedy on the screen. 
My woeful tale's more sad by far, 

Than comic thou'st ever seen. 



The Ham admitteth 

he hath seen better 

days 



"I am a veteran of the stage, 
To this sad state become. 

To ribald ones with vulgar minds 
I'm nothing but a Bum ! 



See paragraph above 
but two 



The ghost walked regular every week, 
My salary, Broadway top. 

Thus Fortune smiled on me for years, 
And then she took a flop ! 




And starts a mono- 
log about them days 
that was but ain't 
no more 



But years the mimic boards 
I trod. 
Homage was mine, and 
oft 
Crowned heads have melted 
to applause 
At Nature's mirror held 
aloft. 




(Fifty) 



A 




mi onnplaln 

• III l.lttrtly •limn 

llli- picture poll 

Irlii-r 



And rcinniki-ili an 
nrly odcoim 



The i "i ■ ed pictures hit the land, 
\ml evei v vacant store. 

\\ nil lui nl pictures was bedej ked, 
Ami signs above the dooi . 



phrase 



ami 



puny 



With canny 
price, 

They lured the yokels in. 
\n\ Jack could take Ins Jane, 

For one dime, however thin. 




tlv mUlM, II didn't 
look a> if i ho leap- 
ing llutypea wore go- 
ing in get anywhere 
at am. ,11,1 It) 



At first I smiled. Some called them 
Art! 

Ye Gods on high! I laughed! 
The actor's art is in his speech. 

Could words he photographed? 



Dopetn mil a una 

to COP huI -■ 
Mir may picking* 



That night did fond hope (ill tn\ 

breast, 

This reptile I would won, 
And pluck the jewel from its head. 
I dreamed of savory stew. 



He neglected to run 
the card* 



But as time flew the dumb things grew 

To a gargantuan size. 
But still I laughed and did not see 

The writing in the skies. 



TrLtli to crash the 

'in, 11, i nnti's, but 

gets the gale him 

self 



I haunted then the movie lots. 

Ah, what a blow to pride! 
To cool my heels in anterooms. 

But seldom get inside ! 



Thr> used to allow 

'cm In tenia, too. 

Kt member? 



The Morles always 

did smnd a lotta 

Jack on juice 



'S a fad. the Monies 

hit the legitimate an 

awful wallop "long 

about that time 



Old 20** was get- 
ting his! 



The Ham helpeth 
the four-a-day peo- 
ple put the pictures 
on the pan 



There came a time, however, when 
Ahout, about on every hand, 

A raucous ballyhoo disturbed 
Street, Avenue and Strand. 

One walked abroad, and everywhere. 
There flamed ami gleamed at night, 

The symbols of the Cinemas, 
In red and green and white. 

The mushroom grew and grew and grew 

Till temples of my art, 
Went dark and silent as the tomb, 

Where I did strut my part. 



Plscuvereth that he 
Is no Sheik 



And that a tall hold 

on technique gettcth 

him nowhere: 



He runneth on about 
bis hard luck 






I sought my Agent's 
house in vain, 
He spoke in accents 
sad: 
'There's nothing do- 
ing in our line, 
The world's gone 
movie mad.' 



Were others too, who 
felt the screw. 
Vaudeville, once 
despised, 
Its votaries became 
my brothers. 
And as we fraternized, 
We sent a paean of hate aloft. 
We damned the movies' eyes ! 



CASTING DEPI 





Concludeth that 
Bill said a wise 

mouthful 



Bethought me then of Shake- 
speare's line, 
Wherein the Great Bard 
said, 
'The toad, tho venomous, 
despised, 
Hath a jewel in his head.' 



When once or twice they looked me 
o'er, 

Alas, my hair was thin ; 
I did not sport a bulldog jaw, 

No cleft was in my chin ! 

It mattered not that I did know 
My book of drama thru. 

They wanted Youth, but callow Youth, 
And naught but Youth would do! 

There passed a weary time. My throat 
Knew only water as a drink. 

My purse was empty of all sound 
Where once fat coins did clink. 



His stomach 

' h 1 1 1 k e t h his 

throat Is cut 




From lack of food I 
grew so gaunt, 
My palsied hands 
did twitch. 
If stomach or if spine com- 
plained, 
I could not tell the which. 



He taketh an 

a w f u 1 slam a t 

the early lens 

lice 



The while jo- 

millers. 

buffoons. 

clowns, 

Golden guerdons earned. 

{Continued on page 88) 




(Fifty-one) 




Blow 
Your 
Own 
Horn 



By 

DOROTHY 
DONNELL 



But it was almost 
impossible to see 
Jack ... so wholly 
was he surrounded 
by fair faces, mar- 
celled heads, and an 
aroma compounded 
of the most expen- 
sive scents of Araby 



THE decks of the steamer, warping majestically up 
the harbor, were packed with olive-drab heroes who 
had just finished their job of making the world safe 
for democracy. Sirens and whistles blew piercing blasts 
of welcome from either shore ; the bronze goddess of 
Liberty bestowed a metallic smile of approval upon them 
as they sailed past her ; and all over the broad land the 
mayors of a hundred cities worked feverishly upon 
Addresses of Welcome. 

Somewhat apart from his fellows stood a young man 
with a square chin and a spunky grin that tried to deny 
the wistfulness in his very blue-blue eyes. Seven million 
people in Manhattan — and not one of them would be glad 
to see him back ! He wished humorously that he had 
elected to return by way of Boston where there would 
have been only two million and a half people who wouldn't 
have been glad to see him ! The sole relative Jack Dunbar 
had in the world was a small brother whom he had 
parked on a farm in the Middle West when a gentleman 
by the name of Wilhelm had started something he couldn't 
finish several years before. There was not even a mayor 
to shed oratorical tears over him, for he was a rolling 
stone, and in his pockets at this moment jingled not a 
particle of moss. 

*'If I'm going to keep up the habit of eating I've got 
into," Jack reflected, "I've got to get a job, and I have a 



sneaking notion that the guys that heroically gave their 
voices for their country yelling 'hooray !' when we 
marched away are going to get writer's cramp when it 
comes to putting us on their pay-rolls now !" 

'The mountain ranges of sky-scrapers gave way to docks 
and huge electric signs advertising the virtues of pills, 
tires and breakfast foods, the tugs grunted and panted 
as they nosed their charge into dock and one thousand 
nine hundred and ninety-nine relatives and friends surged 
forward crying : "George !" "Peter !" and "Bill !" The 
two thousandth passenger delayed until the others were 
all disembarked, then sauntered down the gang-plank, 
hands jammed into pockets, lips puckered into a gallant 
whistle which changed to a yelp of surprise as a small 
figure catapulted itself from the crowd upon him. 

"Buddy! Why say — and I thought you were in Ohio 
growing up into presidential timber !" 

"I was but I ain't," Buddy replied succinctly, gazing at 
his soldier brother with worshipful eyes, "I stowed on 
a freight when you wrote you was comin'. Gee ! I was 
scared I was going to miss meeting you — the brakeman 
called a cop to jug me when the freight got in this 
mornin' !" 

"How come you're down here then?" Jack demanded, 
trying to sound gruff and elder brotherly, and failing 
shamelessly. 



(Fifty-two) 



I i IS 



"( )li," said Budd 

l jollied the cop into 
bringing me down on his 
. le !" 

1 ln-\ win- afraid 
emotion, and veered man 
wise from its dangerous 
\ icinity. Budd) pro> ing to 
have seven dollars in his 
pocket they discussed their 
joint future o\ er .1 sumptu 
ous banquet of pancakes 
and doughnuts in a near-b) 
quick lunch. Buddy stated 
emphaticall) that he was 
not going back to the farm. 
"Mrs. Smedley made bully 
pies," he admitted, "but she 
was always after me to wash, ami besides when a feller 

i> horn an orphan like me he'd better stick to his brother, 

When Jack glimpsed the bill for the pancakes he 

decided that the city was no place for them, an opinion 
that a day's search for a job confirmed. At the close 
of the afternoon he exchanged his soldier uniform for a 
suit of hand-me-downs at the Misfit Clothing Store of 
one Abraham Levy. '*I guess we hit for the tall grass, 
kid. 1 cant do much of anything but I cant do it better 
in the country than in the city. Let's go!" 

The following afternoon found them trudging along a 
road in upper Westchester where fate gave them the 
cue to turn the corner immediately after Mr. Small, multi- 
millionaire, with a prejudice against chauffeurs whirled 
the crank of his imported car for the fifteenth fruitless 
time, accompanying the operation with lurid language 
which even to one 
accustomed to the 
conversation of 
drill sergeants 
was a revelation. 

"I sent my 
daughter out of 
earshot," Mr. 
Small explained 
as Jack and 
Buddy paused en- 
tranced to harken, 
"this is the fifth 
time this after- 
noon she has had to 
take a walk in the 
fields while I got 
this contraption 
of the devil 
started. When I 
get home I shall 
buy a push cart 
and do my travel- 
ing in that here- 
after " 

"1 .et me look at 
it." Jack suggest- 
ed. "I'm a bit of 
a tinkerer. I can 
make most any- 
thing go. even an 
army mule." 

With a kind of 
awe the million- 
aire watched 
while he tightened 
a bolt here, 
adjusted a plug 



Bl I »W N "i R Ht >RN 
! no. ■!!:.-, . ; b) I'll mission ii, .in the F B 
release <■' thi icreen adaptation bj i<> k i.o i- 
ia v i> itorj Directed bj Jamei \\ 
Home iiu- 

Dunbar Wai n< i Baxtei 

Nicholas Small Ralph Lewii 

\nn Small . . \mi Pel du< 

Auguatus Jplj in I it kei 

moi e Be\ an William 1 1 ["urner 

Gillen .Jolyon Ernest C Warde 

Idy" Dunbar John Fox, Ji 

Julia Yates Mar) Jane Sanderaon 

Mis [olyon Eugenie Fordt 

Mrs iiilro> \.n<s . I 'ill Hoone 

Percj N .it< - Bill) I Isborni 

Timothy Cole Stanhope Wlieatcroft 



the engim 

and Mr Small 

In ightened. "All I i ould 

make her do W 'il(,'h 

like a damned top] 
fretted, "young man 

saved my life M 

tells me I mustn't 

angry. You're a won 
you're — » 

"It wasn't any t hing," 

said lack modestly, shaking 

his head at the proffi 

bill, "anybody could have 
told you what to do." 

Mr. Small returned the 
bill to his pocket reluctantly. "Then, if you wont let 
me repay you with money, young man." he said, "here 
million dollars' worth of advice. Never tell people some- 
one else is as good a> you are, never be modest. Brag! 
Bluff! Blow your own horn, young man!" 

Jack laughed. "It's no use trying to make people 
think you're something you're not," he declared, "you 
cant get away with it." 

Mr. Small had been watching him closely, now as a 
man overcome by his own humor he burst into immoder- 
ate laughter from which words trickled: " — be a g 
joke — that old snob Jolyon! And Mrs. Yates would hurl 
Julia at your head — and Dinsmore Bevan. ha, ha, ha!" 
Gradually he became more coherent: "Say. I like to 
prove my theories and I can afford to do as I like. I'll 
give you one hundred dollars to impersonate a millionaire 
at a house-party I'm on my way to now." 



Here is a part of the amazing house-party: the rich Mr. Small and his daughter Ann, the 
finicky financier, Bevan. the ambitious (unduly) widow, Mrs. Yates 




m 



(Fifty-three) 



CLASSIC 



Rapidly he unfolded his scheme which included a 
mythical Rolls-Royce supposedly wrecked, forcing Jack 
and Buddy to don borrowed clothes, with a Texas oil 
well in the hackground — to explain, Jack judged cynically, 
any solecisms of speech or ignorance of the proper fork 
for the fish course. 

He had already opened his mouth to disclaim any 
interest in the preposterous plan, but no words came. 
Lips still ajar, he was gazing beyond the baldish head of 
the whimsical millionaire at a vision in cool summer 
colors who had just appeared strolling thru the grove. 
"Is it safe to come now, Papa?" asked the Vision, smil- 
ing cherry-lipped, "a few little damns wont matter." 

Jack bowed, gracefully from the hips as he had seen 
the Frenchmen bow, and turned to Mr. Small whose pursy 
figure seemed surrounded with a glow of reflected radi- 
ance. "I agree to your proposition — on one condition," 
he said suavely, "'and that is that the scheme be confi- 
dential for one week, no matter what occurs." 

"You have my word for it !" the millionaire chuckled. 

"Then," Jack deftly slipped a card into the other's 
hand, "wont you begin by introducing me to your 
daughter? And explain how my car was wrecked so that 
my brother and I are forced to make such a poor 
appearance." 

The chuckle exploded. Mr. Small's expression as he 
complied with Jack's request was dubious like that of a 
man who doesn't quite see the point of a joke. And 
when, a little later, he stood by and watched the members 
of the Jolyon's house-party vie with one another to make 
the handsome young Texas oil magnate welcome, his 
dubiousness was that of a man who has walked confi- 
dently off an unsuspected step in the dark. 



P' 1 ' 




"Isn't Mr. Dunbar a dear?" gushed Mrs. Yates, a 
stout widow with a cattish tongue, kittenish ways, and a 
daughter of more than marriageable age, as she glanced 
across the table at dinner, "wasn't it fortunate Mr. Bevan 
is the same size and could lend him clothes and my little 
Percy's things just fit that sweet child Buddy! What a 
romantic chance that brought him to us here — it is almost 
enough to make one believe in Fate isn't it, Mr. Small?" 
Across the silver centerpiece her neighbor watched the 
debonair figure of his creation -dividing his smiles between 
unattractive Julia Yates and his own daughter, Ann, 
while on the other side. of Ann, quite isolated by an inat- 
tentive, charming bare shoulder. Augustus Jolyon, the 
son of the host, partook dreamily and in solitude of his 
alligator pear salad. Augustus had neither parlor graces 
nor shekels, but he did possess ancestors. His blood 
was blue, which no doubt accounted for the bleak pallor 
of his complexion, and his features were all inherited 
from a long line of forebears which was probably the 
reason for their being so curiously assorted. It was a 
matter of understanding between Ann's father and 
Augustus' parents that their children should marry, and 
Ann had been apparently resigned if not enthusiastic 
when they started out for the house-party. 

Mr. Small had always rather fancied himself as a 
practical joker, but now he began to wonder whether he 
had not been an extremely impractical one. If only he 
had not given that idiotic promise of one week's silence ! 
He would see that young upstart after dinner and put 
him in his place. 

But it was almost impossible to see Jack after dinner 
when the party had returned to the drawing-room, so 
wholly was he surrounded by fair faces, marcelled heads 

and an aroma 
compounded of the 
most expensive 
scents of Araby. 
Fuming inwardly. 
Mr. Small watched 
Mrs. Yates coo 
over him, watched 
the slightly shop- 
worn Julia ply him 
with flattery, 
watched his own 
daughter. Ann, ac- 
tually blush in a 
Mid- Victorian 
manner at some- 
thing the shameless 
young scoundrel 
whispered to her — 
Ann who read 
Shaw and Wells 
and was wont to 
discuss sex inhibi- 
tions and birth 
control with 
her young me n 
friends ! 

Mr. Small cast a 
glance about for 
Augustus who, as 
prospective hus- 



Bcvan shook his 
head: "Not practi- 
cal, my boy! Sorry 
but I am not inter- 
ested in portable 
Niagaras. Why dont 
you try our friend 
from Texas?" 



(Fifty-four) 



CLASSIC 




Percy and Buddy doing their share toward making the house-party even more interesting 



band, should by right be a prey to the green-eyed monster, 
but that pallid youth had cornered Dinsmore Bevan and 
was explaining his invention of a device for the wireless 
transmission of power to the skeptical financier. ' . . . 
millions in it !" he was saying, "think of it, the power of 
a Niagara in your own home by pressing a button I" 

Bevan shook his head. "Not practical, my boy!'' his 
tone patted Augustus indulgently on the head, 
"sorry, but I'm not interested in portable 
Niagaras. Why dont you try our friend 
from Texas?" His gesture told 
Augustus to be a good boy and 
run away and play, but the 
young inventor took his de- 
risive suggestion seriously. A 
gleam of hope came into 
the pale, near-sighted eyes 
he had inherited from 
some maternal uncle, he 
set his great-grand- 
father's rather weak 
chin determinedly and 
a moment later had 
Jack 
ner, 
tale. 

Mr. Small sought 
his host. "Jolyon.'' 
said he, "have you 
spoken to your boy 
about the matter we 
discussed the other day? 
What did he say?" 

Mr. Jolyon shrugged 
his shoulders. "To be quite 
frank," he admitted, "Au- 
gustus did not take to the 
idea just at first. His remark 
was, as I remember, something 
to the effect that he didn't want 
any wife because she would be sure 
to get hair pins into his transmitter, 
and powder onto his batteries, but I rt- 



111 



another cor- 
istening to his 




minded him that marriage was a family custom of our-. 
and he finally yielded." 

"As a wooer," said Mr. Small dryly, "Augustus is not 
exactly ardent. However I cannot say that Ann is pre- 
cisely sentimental herself, altho she has agreed to my 
wishes. I think under the circumstances," his glance 
wandered toward Jack, "we would be wise to announce 
the engagement at once." 

Ann Small smiled a trifle grimly intc 
Augustus' downcast face as they took 
their places side by side. "It hurts 
me as badly as it does you. Gus !" 
she said, "still, dont you think it 
would be the sporty thing to 
register pleasure instead of 
looking as if the body was 
still in the next room?" 
Jack Dunbar was in the 
act of signing his name 
when the announcement 
of the engagement was 
made. The result wa- 
a large, heart-broken 
blot but he pressed 
Augustus' hand warm- 
ly in congratulation. 
"May I be the fir 
he said, "to Wish my 
partner happiru 
"Partner," cried Small 
and Jolyon in chorus 
while Ann 
visibly. 
"Why, yes," Jack ex- 
plained, "Augustus has 
told me of his invention 
and I think with my knowl- 
edge of wireless we can make 
a big thing of it. He has of- 
fered me a half-interest, and Mr. 
Bevan here has just purchased my 
interest for fifty thousand dollars," and 
(Continued on page 93) 



brightened 



(Fifty-five) 




Flashes From the 
Eastern Stars 



Love,'' he journeyed down Long Island and shot one 
;>f the biggest mob scenes ever filmed. The ''extra," 
were a flock of sixty thousand ducks! 



RODOLPH VALENTINO has 
signed a long-term contract 
with Ritz Carlton Pictures. 
After his return from Europe 
where he and his wife are vaca- 
tioning and at the close of his 
Famous Players contract (Feb- 
ruary, 1924) he will start to 
work. He is thrice welcome 
back. The screen needs this 
picturesque personality. He 
wants Sabatini's "The Sea 
Hawk" for his first picture, but 
Richard Rowland of First Na- 
tional has already bought the 
screen rights. ... 



The Metro 
Picture Cor- 
poration an- 
nounces that af- 
ter several 
months of nego- 
tiation it has 
succeeded in 
signing Lau- 
rette Taylor to 
star in picturi- 
zations of two 
of her stage 
vehicles, "Hap- 
piness," and 
"One Night in 
Rome," both 
written by J. 
Hartley Man- 
ners. Miss 
Tavlor passed all photographic tests in "Peg 
Q''My Heart." 




Photograph by P. Aoers, Paris 



Lionel Barrymore and Irene Fenwick will 
appear on Broadway this fall, it is understood, 
in a new play under the management of David 
Belasco. Broadway rumors have it that the 
piece is being put into shape bv Achined 
Abdullah. 



Lew Cody will be seen in a play on Broadwa) soon 
to be called "The Panama Kid." At present he is on 
the Goldwyn lot making "Law Against Law." 



.*».»«*** 




Lynn Fontanne, known for In r 
work in the role of Dulcy, is 
now at work in the New York 
studios of Distinctive Pic- 
tures Corporation in a film 
entitled "Second Youth." 
She plays opposite her 
husband, Alfred Lunt. 
She opened on the stage 
in "In Love With 
Love." 



Having completed 
"The .Fighting Bla 
Richard Barthelmess 
will do as his next pic- 
ture the celebrated novel 
"Wild Apples." After 
:>ix months' research work, 
1 Inspiration Pictures have 
decided that Mr. Barthel- 
mess will bring to the screen 
Nathan Hale, portraying the 
character of the American patriot 



Top of the page: Anna Q. Nilsson sacrifices her beautiful 
hair for the sake of "Ponjola," while Donald Crisp looks on. 
Above: Otto Krueger and Gustave von Seiffertitz, noted 
character actor in "Under the Red Robe." Left: Raquel 
Meller, a Spanish beauty imported by the Selwyns to head 
a Continental type of Revue. Below: The newest Follies 
deserter, Mary Eaton, learning about the movies from Sam 
Wood who will direct her in "His Children's Children" 

Photograph from Paramount Pictui 



Elmer Clifton likes to do things on a large 
scale. During the filming of "Six Cylinder 




(Fifty-six) 



The Editor Offers the Latest News 
of Stage and Screen 



who died ni the cause of liberty. This was decided upon aa a 
alt of many requests to set this favorite star in the role of the 
revolutionan hero. 



Glenn Hunter has started work on his rii>t picture for Para- 
mount, "West of the Water Tower," an adaptation of the anony- 
mous novel which is now having a sensational sale. 



fane Harvey, for many years the outstanding player of mother 

roles in moving pictures, today mothers guests at the Waldorf- 
Astoria, Xew York City, where she has been working as a floor 
clerk since her retirement from the screen three years ago. L'ntih 
her retirement Mrs. Harvey was a familiar figure in pictures, 




Photograph by White Studios 



Above: Regina Wallace who is to play opposite 
McKay Morris in Mary Roberts Rinehart's "The 
Breaking Point" early this fall. Left: Lillian 
Gish and Henry King and the oldest actress in 
Italy on location before Marion Crawford's villa 
overlooking the Bay of Naples. Below: A study 
in contrasts — the first and smallest steamboat, 
Clermont, and the last and greatest, Leviathan. 
The replica of the Clermont was used in "Little 
Old New York" 




Photograph by International Newt Kcti 



Photograph by Abbe 



having 'played mother parts to such moving-picture stars 
haplin, Owen Moore. Shirley Mason, Petrova. Xance 
O'Xeill and Pearl White. 



The first of J. Stuart Blackton Productions to he re- 
leased by Yitagraph is "On the Banks of the Wabash," 
a story inspired by the famous song classic written by 
Paul Dresser. 



Editing of "The Midnight Alarm," David Smith's 
magnificent fire thriller, is being finished at the Yitagraph 
Studios in Brooklyn. This picture has a special cast 
headed by Percy Marmont, Alice Calhoun and Cullen 
Landis. 

(Continued on page 89) 




(Fifty-seven) 




Above is the Villa Albani, Rome, 
which was built in the fourteenth 
century by Cardinal Albani (later 
elected Pope). It is now owned by 
Prince Torlonia, who generously per- 
mitted its use for "The White Sister," 
the Marion Crawford story which 
Inspiration Pictures made in Italy 
with Lillian Gish. It is considered 
one of the greatest beauty spots in 
Europe. Right is a convent near 
Porto San Giovanni, Rome, where 
many of the exciting incidents of 
"The White Sister" were shot 



On The 

Seven Hills 

of Rome 

Authentic 
Backgrounds 

for "The 
White Sister" 








A palazzo near 
Rome, above 
' . . . the turgid 
Tiber's crimson 
flow. ..." 



(Fifty-eight) 








Vespers 




'The Saints will aid if men will call: 

For the blue sky bends over all." — Coleridge. 



The pictures on these two pages are the beautiful and authentic backgrounds for "The 
White Sister." The entire picture was shot in Italy; in Rome and Naples for the 
most part, which means that this film will be heavy laden with the "fatal beauty of 
Italy." "See Naples — and die" is the immortal phrase of that dream city. We cannot 
afford to miss this picture. The scene above is Lillian Gish on the balcony of the 

Villa d'Este, Tivoli 



All Photographs by Abbe 



(Fifty-nine) 



Classic Considers 




Ink Photograph by Pach Brothers 



ROBERT J. FLAHERTY 
F. R. G. S. 

Because he is the only per- 
son who ever made a suc- 
cessful movie without hero, 
heroine, villain, or plot. With 
"Nanook of the North" he 
put the Esquimo on Broad- 
way and familiarized the en- 
tire country with his life and 
habits. Adventurer, scholar, 
explorer, he had no idea of 
expressing himself thru the 
camera until he was ma- 
rooned for a year and a half 
on arctic ice. Because Fa- 
mous Players have financed 
an expedition to the South 
Seas so that he may do for 
the tropic South what he has 
done for the frigid North 



Photograph by Kendall Evans 



OILDA GREY 

Because she is abso- 
lutely unique in her 
field — the champion 
shimmier of the world. 
Because she has a 
tremendous following 
both in "The Follies" 
and at "The Rendez- 
vous" where she 
dances — that is — 
shakes a wicked anat- 
omy to the gustatory 
delight of audience 
and patron. Because 
she has defied anyone 
to produce a more 
perfect pair of legs 
than her own — and to 
date, nobody has 




Photograph © by Luniiere 




HARRISON FISHER 
(above) 

Because there is not 
a young girl the 
length or breadth of 
the United States who 
is not familiar with his 
drawings, and doesn't 
want to look like 
them. Because he is 
one. of our most promi- 
nent and successful il- 
lustrators. Because he 
is handsome, clever, 
successful, not too 
young, a bachelor, an 
artisr and a rare good 
fellow besides 



(Sixty, 



d 





A Camera Study 



George Walsh has forsaken athletics for 
aesthetics. In his new picture for Goldwyn, 
"The Magic Skin," he is cast as a dreamer 
and a poet starving in his garret. It is 
said that George actually starved himself 
for weeks before this picture so that he 
might acquire that yearning, aesthetic look. 
We find this poetic glamour becoming and 
we marvel anew at the versatility of these 
movie stars. The little girl on the stairs 
gazing so admiringly upward, is Bessie 
Love, another many faceted star 




(Sixty-one) 




The Hollywood 



Above, Mary and Doug and Theda — 
Pickford, Fairbanks and Bara. Right is 
Claire Windsor in a new role, getting 
ready for Hallowe'en. Below is Netta 
Westcott (center), an English beauty, 
over here to adorn our films. Olga 
Printzlau and Eve Unsell of Preferred 
Pictures are on either side 







Below is Buster 
Keaton with his 
staff of "gag 
men." Buster 
must be hard to 
please, or some- 
thing. They dont 
seem to be doing 
so well with the 
tragic comedian 



Transcribed by 



BEFORE I ever write again about a happy Holly- 
wood bride, I am going to make her bring her 
husband by the hand and file him for reference. 
All of which anguished cry arises from the case of 
Renee Adoree. It appears that while we were all 
dripping fond and happy tears over her domestic bliss, 
she was burning midnight oil in the manufacture of 
a burning suit for divorce. And the suit for divorce 
was filed the other day. In it she accused her hubby, 
Tom Moore, of cruelty. She said he accused her of 

having a "past" ; 
of calling her 
mean names. So 
there's another 
young illusion 
gone. 

The lovely 
Renee can doubt- 
less find some 
consolation in the 
fact that she has 
made the greatest 
sensation of any 
girl in Hollywood 
this year. She is 
regarded as the 
greatest "find" of 
many seasons as 
an emotional 
actress. 



All of which 

Photograph by Clarence S. Bull brings US to the 

case of Mabel 
Normand. I attended a luncheon one day 
last week at the Writers' Club, at which the 
topic was brought up of screen genius. 
The writers and directors who were there 
all agreed that the greatest single genius 
that has ever been produced by the screen 
is Mabel Normand and that some day she 
is likely to tear loose and produce some- 
thing that will be immortal in screen 
history. 




For the first time in her life, Mabel 
has really been in earnest over a pic- 
ture. Until this one, she has been the 
despair and agony of her directors' 
lives. They would get all set to 
"shoot" and perhaps the star would 
appear ; and perhaps the star would 
not. Also the star was just as likely 
as not to go to lunch on an important 
day and not appear for four days. 

But, while the "Extra Girl" was in 
the making at the Sennett Studio, a 
new Mabel made her appearance — a 
grave, reliable and punctual Mabel. 
The explanation probably is that 
Mabel is very hard pressed finan-. 
cially and realizes she has to get busy 
and saw wood. Some of her invest- 
ments have gone wrong. 

(Sixty-two) 






Boulevardier Chats 



HARRY CARR 



Mack Scnnett, on the other hand, is laid to h 
made anothei fortune in real estate piled on top oi 
tin- fortunes he alread) had 1 understand that 
Sennett's realty holdings inside the city limits of Los 
Angeles exceed one hundred -ami thirty acres, mostly 
cit) lots and tracts being held for subdivision. 



As a realty king, Sennett lias but one rival in the mo- 
don picture colon) ; this is Ruth Roland who is said to 
have made two mil- 
lions in Hollywood 
real estate during 
the last five years. 
And Miss Roland 
says with the most 
charming candor, 
she still has the first 
nickel she ever 
made. 

* * * 

Conrad Xagel is 
another realty mil- 
lionaire. Conrad has 
a very valuable 
ranch near Duarte 
in the foothills. On 
it he raises melons. 
Ever) - week he says 
he goes out with the 
firm determination 
to give orders to the 
realty men to cut it 
up in subdivision 

lots ; but the melons look so nice and green 
and pleasant that he cant bear to do it. 











Photograph by K. O. Rahmn 



Above, Jack Pickford and his wife, 
Marilyn Miller, on their own back fence. 
Below is a scene from Warner Brothers' 
"Little Johnnie Jones," with Johnnie 
Hines in the center. Bottom of the page, 
Eleanor Boardman and her director, Tod 
Browning, snapped during the making 
of "The Day of Faith" 



By the time this appears in print, Mary 
Picktord's keepsakes will be distributed 
among the loving families of Hollywood. 
Mary presented Rev. Xeal Dodd, the 
"chaplain of Hollywood," with a whole trunk 
filled with stuff to be auctioned off for the 
benefit of his church. Among other 
treasures was the little velvet suit she 
wore in "Lord Fauntleroy" ; her lace 
handkerchief which she used in "The 
Street Singer." etc. There were 
slippers and scarfs and all manner 
of wearing apparel. 



Speaking of Mary, they say her 
studio speaks in hushed whispers of 
the awful indignity that has occurred. 
This young girl, Lucile Rickson, who 
is announced by Marshall Neilan as 
the rising genius of the age, is to be 
in Jack Pickford's next picture and 
she is to take the part that Mary her- 
self had in a previous version of the 
story. Instead of being properly im- 
pressed, Miss Rickson accepted the 
situation with such sang-froid that 
she began to call Mary "old dear" 



Above: Reading 
from left to right 
and upside down, 
it is Malcolm Mc- 
Gregor, keeping 
fit for film fights 





(Sixty-three) 



CLASSIC 




This is the age of 
Youth, certainly. Here 
is little Bruce Guerin 
stopping the traffic in 
"The Gold Diggers," 
and right is Miss Cal- 
lista Riddles, a featured 
player in "Mothers-In- 
Law." Below is. Wal- 
lace Beery proving a 
disputed point to Kath- 
leen Clifford. They are 
Richard the Lion- 
Hearted and Queen 
Berengeria, tho we al- 
ways thought that was 
an ocean liner 





and requested her to hand her a make-up box. 
Miss Pick ford is a very democratic young lady ; 
but "old dear" — well. The fact is that Miss 
Rickson has attained the venerable age of four- 
teen and that explains everything. 



And as to Mary. . . . One day last week, 
one of the Los Angeles newspapers published a 
symposium of opinions from well-known citi- 
zens, mostly bank presidents and such, about 
what policy the city should pursue in its indus- 
trial future, etc. Among those quoted was Mary 
Pickford. Mary offered a plan of such sane, 
sagacious reasoning, such breadth of vision and 
withal of such practical and feasible value, that 
it is probable it will be preserved in permanent 
form. 



There was a baseball game on the Fairbanks- 
Pickford lot the other day in which Eddie 
Sutherland, the assistant to Charlie Chaplin, 
broke his wrist. To save question- 
ing, Eddie had a card printed 
which he had the head waiter hand 
around to the guests at the cafe 
where everybody eats luncheon. 
The card said : "Believe it or not. 
I hurt my wrist playing baseball. 
It is not a permanent injury. It 
will be well in six weeks. Thank 
you." 



Whether from policy or because 
the Hollywood sunshine has 
softened her heart, the lovely Pola 
Negri has changed her methods. 
Gone is the old hauteur. She loves 
everybody now. She says "My 
Tony_"*as she calls Senor Moreno, 
is the finest actor she has seen in 
America and that Herbert Bren- 
,_ on is the best director she has 

ever worked with. But she says, hereafter, she is going 
to do her acting in her own way and not let anybody 
bamboozle her into the idea that Americans demand 
restraint in acting. Not to be outdone by Mary 
Pickford's version of the same story, Pola's picture. 
"The Spanish Dancer," will have some of the most 
gorgeous sets ever seen in motion pictures. 



That other brilliant Polish lady, Nazimova, is 
decorating Hollywood with her presence again. Nazi- 
mova looks charmingly young and beautiful and mys- 
terious. Whenever you met anybody in Hollywood, 
they used to say "Howd' do" ; but now they say 
"Hello-o-o-o-o." When Nazimova does, it sounds very 
spiffy and cultured but when the others try it, it sounds 
very much like a yodeler practising his art. 



Norma Talmadge has been held up with her new 
picture. "The Dust of Desire," by an untoward circum- 
stance. Her director, Miss Frances Marion, has 
whooping-cough. 

* * * 



All of which brings us to another point. 
^Continued on page 72) 



Pictures 



(Sixty-four) 












Spreads smooth 
dries quicker 

-Ihe new liquid polish 



A polish that will not form lumps and 
gummy ridges on the nails. That spreads 
smoothly mi<1 evenlj all over the nail. It 
is tinted |iist the shade that fashionable 
women are using this season. 

Every requirement tor a liquid polish 
was considered when Cutex was working 
out this formula. The new Cutex Liquid 
Polish dries almost instantly. Before you 
hue finished the second nail the first is so 
drv and firm, touching will not mar it. It 
will not peel off, nor crack. Its brilliant 
even lustre lasts a whole week. 

And finally, it needs no separate polish 
remover. When you are ready for a fresh 
manicure you just put on a fresh coat of 
Liquid Polish, one nail at a time, wiping it 
off instantly before it dries. This leaves 
your nails smooth and clean, ready for the 
fresh manicure. 

You can get Cutex Liquid Polish for 35c 
or in the $1.00 and #3.00 sets. Sets with 
other polishes are 60c and $1.50. 



Charming Introductory Set 

including the new Liquid Polish now only 12c 

Fill out this coupon and mail it with 12c in coin or stamps for the 
Introductory- Set containing trial sizes ot Cutex Cuticle Remover, 
Powder Polish. Liquid Polish. Cuticle Cream ^ Comfort i. emery 
hoard and orange stick. Address Northam Warren. 114 West 17th 
Mew York, or if you live in Canada, Dept. N10, 200 Mountain 
St , Montreal, Canada. 



MAIL THIS COUPON WITH 12c TODAY 



NORTHAM WAR R FN. Dept SI .0 
1 14 West i-th St , New York 

I enclose lie in stamps or coin for new Introductory Set 
including a trial bottle of the new Cutex Liquid Polish. 





Cutex 



Polish, 



(Sirtyfive) 




The Happy Hour 



Posed by Johnnie Walker and Mildred June in "The Worm" 

MB. — This charming tho innocuous portrait was substituted at the last minute 
fora page of burning kisses from "Alimony," because, forsooth, it caused both a 
managerial and an art department blush! 



(SixtysixJ 



(^y{ow do they accomplish it ? 

The women who give their skin the hardest wear 
manage to keep their races young long after 
other women have grown old and unattractive. 

THE actress gives lie r complexion harder wear and demands 
more of it in return than any other woman. She must keep 
her skin tine and clear though she covers it with cosmetics. It 
must he fresh in spite of late, weary hours. 

How does she accomplish this? By careful study of her skin 
she has discovered the two indispensable things it needs to keep 
it in the fresh, heautifully supple condition she demands. 

First the perfect kind of cleansing at night that leaves the 
face soft and clear — every bit of dirt, every trace of cosmetic. 
every shadow of weariness taken away. Then the exquisite 
morning freshening that keeps the skin flower- like through th< 
dav and guards it completely from every coarsening thing. 

These are the two fundamentals of skin loveliness. For these 
two things many well-known actresses depend on the two en- 
tirely different creams that Pond's developed especially for this 
method of keeping a woman's skin young and fresh — Pond's 
Cold Cream and Pond's Vanishing Cream. And many other 
women write enthusiastically about the smoothness these creams 
give their skin. 

See what this famous method will do for you 

Do this every night. With the finger tips or a piece of 
moistened cotton, apply Pond's Cold Cream freely. The very 
fine oil in it penetrates every pore of your skin. Then wipe it 
off with a soft cloth. Dirt and excess oil, the rouge and powder 
you have used during the day are taken off your skin and out 
of the pores. Do this twice. Your skin looks fresh and is 
beautifully supple. 

And every morning, smooth on Pond's Vanishing Cream 
evenly. If you wish, rouge — powder. How smooth and 
velvety your face feels to your hand ! Nothing can roughen it. 
And it will stay that way all day. 

To see how Pond's two creams actually improve your skin, 
use this method regularly. Buy both creams today in jars or 
tubes. The Pond's Extract Company. 





Mae Murray, one of the most allur- 
ing of screen itart, says, I have 
found that Pond's Two Creams give 
the complexion a lovely freshness and 
smoothness . " 



Charming Peggy Wood says, 
"Pond's Cold Cream cleanses easily 
and leaves my skin feeling fresh. 
Then the I/anishtng Cream u a love- 
ly smooth base for powder. 



I'hitto hu Edward Thaifr Monro* 



Every skin needs these Two Creams — The 
Cold Cream for cleansing. The Vanishing 
Cream to protect and to hold the powder 



The common troubles that make a woman's skin look 
older — Pond's two creams banish them 

Accumulation of oil and dirt in the pores. For this condition 
cleanse every night with Pond's Cold Cream, which is so light 
it penetrates the glands and takes out excess oil and dirt together. 
Then every morning put on Pond's Vanishing Cream to keep 
your face fresh through the day. 

Premature wrinkles, scaling, dry shine — are especially the 
troubles of a dry skin. To avoid them, keep your skin soft day 
and night. Cleanse with plenty of Pond's Cold Cream nightly 
and keep some on over night. Feel your skin relax. Then by 
day Pond's Vanishing Cream prevents your skin from drying 
out again. 

Coarsening Sun and Windhurn. The daily repetition of 
weather damage ages your skin. For everyday exposure, use 
faithfully the nightly Pond's Cold Cream cleansing and in the 
day the delicate yet sure protection that Pond's Vanishing 
Cream gives. 

GENEROUS TUBES— MAIL COUPON WITH 10c TODAY 

The Pond's Extract Co ,132' U Hudson St., New York 

Ten cents doc> is enclosed lor your special introductory tubes of the two creams 
every normal skin needs enough ot each cream for two weeks' otdinary toilet uses. 

Name ... 

Street 

City State 



( Sixty seven) 









No. II 



Ups and Downs in the Life of a Star 



No. I 



Douglas MacLean and Marjorie 
Daw in all too realistic scenes 
from "Going Up." You know 
what happens to what goes up 
. . . but if you dont, just study 
the picture on the right. . . . 




(Sixty-eight) 



^rflK- > ^^| 


pf 


k i 1 

5t o- J| 


Eft •' irt' 

If *M 


1 *U t^F*? • $ 


* ^ ' I IF : 




Br ^fl E 



Beauty at Your Finger Tips 



TODAY, as the possibilities of intelli- 
gent care of the skin are becoming 
more generally realized, it is literally true 
th.it thousands upon thousands of women 
are growing younger in looks, and likewise 
in spirits. 

The secret of restoring and retaining a 
youthful complexion lies chiefly in the 
faithful and well-directed use of the proper 
sorts of face creams. The constant employ- 
ment of creams by actresses in removing 
make-up is largely responsible for the clear- 
ness and smoothness of their skins. 

First, the beautiful skin must be clean, 
with a cleanliness more thorough than is 
a t tain able by mere soap-and-water washing. 
The pores must be cleansed to the same 
depth that they absorb. This is one of the 
functions of Pompeian Night Cream. It 
penetrates sufficiently to reach the em- 
bedded dust. Its consistency causes it to 
mingle with the natural oil of the pores, 
and so to bring out all foreign matter 
easily and without irritation to the tissues. 

The beautiful skin must be soft, with 
plastic muscles and good blood-circulation 



beneath. A dry, tight skin cannot have the 
coveted peachblow appearance; set muscles 
make furrows; poor circulation causes pale- 
ness and sallowness. 

Pompeian Night Cream provides the 
necessary skin-softening medium to skins 
that lack the normal degree of oil satu- 
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facial muscles, stimulates the blood circu- 
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Upon retiring, first use Pompeian Night 
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and then wipe off with a soft cloth, freeing 
the pores of all the day's accumulated dust 
and dirt. Afterward apply the cream to 
nourish the skin, leaving it on over night. 
The faithful following of this simple 
treatment works wonders in the skin- 
removing roughness, redness, and black- 
heads, and warding off wrinkles, flabbiness, 
and sallowness. It is the most approved 
treatment for restoring and retaining a 
youthful complexion. 
Pompeian Night Cream (New stvlc j*r) (yoc per jar 
Pompeian Dav Cream (vanishing) boc per jar 



Pompeian Beauty Powder 
Pompeian Bloom (the rouge) 



6oc per box 
6oc per box 



New 1924 Pompeian Art Panel and Samples 

Sena 1 coupon with ten cents for beautiful new tg2 / Pompeian .1rt Panel, 
"Honeymooning in the Alps." With this panel we send samples 
of Pompeian Sight Cream, Day Cream, Beauty Powder, and Bloom. 

POMPEIAN LABORATORIES, 2128 Payne Avenue, Cleveland, Ohio 

Also Male in Canada 




t — * ~-rii^HMi. 



own 



Cleansing and Skin- Nourishing 



I '■><-, asting ) out Autumn 
Complexion 

H> MMI Ji . .si 1 1 ► 

A little- foresight no :i will la) the 1 
dation for the- health ind beaut) of 

skin (luring thr tr\ ing da) of t! 1 
It is during thrsc 1 ith that 

woman ihould form the habit ofrarrful 
il.iily attention in her • kin in-r I 
neck, ihouldera, arms, and h 1 

/' '/'/ 1st )'',ur Skin Get 1 >■ 
After the man) hours of out-of-door 

life that always romc with sun. 

e\t-r\ woman's skin tend* toward an un- 
healthy dryneu. Pompeian Night Cream 
is the exact cream to use .tt this time h 
hai every propertj neccsaar) t.i coun- 
teract dryneu. It is a direct agent for 
unitary cleansing, and it smooths and 

softens the drv tissue of tlit- ..kin till thr 

pom again have a chance to "breathe." 

I would advise a generous application 

of Pompeian Night Cream u unfailing!) 

as you go to ht-il at night. 

Rul) the cream well over thr surface, 
but do not attempt to rub hard; it is 
better and easier genth to fiatthe cream 

into tlu- skin. Strike the surface covered 
with cream by using the flat of the 

fingers — quick little blows, anil continue 
till at least some of the cream ha- dis- 
appeared. 

Use M>ft cloths to wipe away the re- 
maining traces of the cream, and what- 
ever may remain will soften the skin 
during- your hours of sleep. 

. 1 torning Loveliness 

The first thing in the morning the 
skin may be asleep," anil there is 
nothing more helpful to arouse circula- 
tion than a wholesome splashing of cold 
water. 

Pat the face dry with your towel, or 
your bare hands if you prefer. 

When you apply Pompeian Da) 
Cream, take care to spread it on all 
parts of the skin, and to blend it 
smoothly till it disappears. 

Powder and Rouge 
The Pompeian Beauty Powder should 
cover the neck and face with even thick- 
ness so you will not have a face of one 
tone and a neck of another. 

Pompeian Bloom (the rouge 1 comes 
in a convenient little compact that rubs 
off easily for use and stays on well for 
the user. The new Orange tint is sur- 
prisingly natural, especial!) when used 
with the N'aturelle or Rachel tint- ol 
Beauty Powder. 

Pompeian Lip Slick 
This final touch is essential with the 
rose-petal checks — and its color is na- 
tural and healthy-looking. 

■ ttliste en Beaute 
TEAR OFF. SIGN. AM) SEND 



I'OMPEIAN I .A BO K .VI DRIES, 

:i2S Pa»nr Avenue, Cleveland, I 

(ienllrmrn : I rnclo*c 10c (a dime prrferf-.: 
1924 Pompeian Art Panel, "Hooeymnoninc in the 

Alps," anil thr lour samples namrtl in offer. 



Namr_ 



MdreK 

Cm 



What tha-l*- fare powdrl WW '• 



(Sirty-~ntnt> ) 



^ifcnoviefoc^clopdedi 



_, 




Elsie Baby. — Great things often result from little words of 
encouragement. Here's my hand, shake ! Yes, Ramon Navarro. 
Address the players you mention at Famous Players-Lasky, 1520 
Vine Street, Los Angeles, Cal. 

Vera W. — Yes, those were real tears ; tears the silent language 
of grief. Address Rod LaRocque at Famous Players, address above. 

I. C. H. Little Rock. — Thanks for all the kind things you 
say about this department. You say love is a bird that sings 
in the heart of a woman. Yes, and some men are birds too. 
Address Dagmar Godowsky, care of Frank Mayo, Goldwyn, 
Culver City, Cal. Write me again. 

Majorie, Cal. — Well, you cant expect perfection all the time. 

Yes, and there will always remain something to be said of 

.woman, so long as there is one on the earth. Barbara La Marr 

is to have the lead in "Damned." Yes, Joseph Schildkraut is to 

play opposite Norma Talmadge in "Dust of Desire." 

Edith P. — Come again Edith. 

Sinclaire III. — Sounds like the name of a boat or something. 
I love these letters starting in "Several years ago I saw" and then 
to go on describing the picture. I'm sorry, my cljild, but ' I 
cannot tell you the name of the picture you describe. I'm more 
sorry than you are. Mrs. Wallace Reid is twenty-eight. 
Better luck next time. 

Brown Eyes. — You cant quarrel with me, my lady, it takes 
two indiscreet individuals to make a quarrel and I shall not be 
one of them. Yes, Malcolm McGregor is married, and his last 
picture was "The Social Code" with Viola Dana. Rodolph Val- 
entino expects to play in Ritz-Carlton Pictures, which he will 
start when his contract ends with Famous Players. No I dont 
mind answering questions. I wouldn't be able to draw my 
salary if I didn't answer questions. 

Box 2576. — You neglected your John Hancock. I should say 
Dorothy Dalton is still living, but not married. Playing in "Leah 
Kreschna." Well, if you have a good library in your town you 
have a university. Why Edith Roberts and Taylor Holmes will 
play with George Arliss in "The Adopted Father." 

Marie S. — No your letter didn't give me a headache, thanks 
for the aspirin, however. That's what I call foresight. Thanks 
for your generosity, but I would rather you wouldn't send the 
cow. It would be a bit inconvenient in my hallroom. I'm 
quite able to get buttermilk at the dairy. I dont think Valentino 
has a brother, and I dont see how I can help you get into pictures. 
Come in again some time. 

Tex. — Dont forget that it is awfully easy to be critical, but 
awfully hard to be correct. Madge Bellamy was born in Waco, 
Texas. Katherine MacDonald is twenty-eight and Madge Evans 
sixteen. 

Carol F. Detroit. — There are very few successful gamblers 
in the world ; and they are failures in everything else. Most com- 
panies are buying stage plays for motion-picture production. I 
wouldn't know who to tell you to write to. If other's purses 
be more fat, why should we groan and grieve at that. I'm happy 
with my $10.50 per. 

Miss Proxide. — You cannot ex- 
pect everlasting happiness in this 
world. Happiness, like the blue of 
the sky, cannot always last, for as 
the earth needs rain, to yield its 
fruits, so man needs tears to 
estimate life at its true value. Wil- 
liam Farnum is married to Oliva 
White. So you would like to meet 
Richard Dix. Address Gloria 
Swanson at Famous Players. Mar- 
guerite Courtot is in New York. 
Her last picture was "The Stead- 
fast Heart." Well, she has recently 
married Raymond McKee. 

Ruthie. — Of course I sleep on 



This department is for information of general interest 
only. Those who desire answers by mail, or a list of 
film manufacturers, with addresses, must enclose a 
stamped, self-addressed envelope. Address all in- 
quiries: The Answer Man, Classic, Brewster Build- 
ings, Brooklyn, N. Y. Use separate sheets for matters 
intended for other departments of this magazine. Each 
inquiry must contain the correct name and address 
of the inquirer at the end of the letter, which will not 
be printed. At the top of the letter write the name 
you wish to appear, also the name of the magazine you 
wish your inquiry to appear in. Those desiring imme- 
diate replies or information requiring research, should 
enclose additional stamp or other small fee; otherwise 
all inquiries must wait their turn. Let us hear from you. 



a bed, did you think I slept on the piano? The Ancients slept 
on skins. Beds were afterwards of loose rushes, heather or straw. 
The Romans are said to have been the first to use feathers. 
An air cushion is said to have been used by Heliogabalus, 218-222 
A. D., and air beds were used in the sixteenth century. Feather beds 
were used in England in the reign of Henry VIII. The bed- 
steads of the Egyptians and later Greeks, like modern couches, 
became common among the Roman upper classes. Enough of that. 
No, Richard Dix is not married. Tom Mix is married to Vic- 
toria Forde. Yes, she used to play in Western pictures years ago. 
Thanks for your good wishes. 

Martin. — It is like playing ping-pong with a medicine-ball to 
answer questions like yours in this department. This is no 
place for essays. To answer your questions the way I want to, 
would take two or three pages. Yes, Glora Swanson is playing 
in "Zaza" and you can reach her at Famous Players. Antonio 
Moreno has played in "My American Wife." "The Exciters" 
and next in "The Spanish Dancer." 

Box 2576. — What again ? I'm afraid you will ■ have to try 
that job yourself. Madge Kennedy has started her second pic- 
ture, "Beyond the Salt Frontier" for Kenma. Neysa McMein 
wrote the story, and Anita Loos and John Emerson put it in 
scenario form. That's it, courage counts. 

Miss Dorothy. — Well, if you love life, dont squander time, 
for that is the stuff life is made of. Ivor Novello is twenty- 
four ; Kenneth Harlan twenty-eight and Conrad Nagel twenty- 
seven. Vivian Martin is on the stage and Justine Johnson is in 
Europe. Constance Binney has just signed a contract with C. C. 
Burr and she will play in "Clipped Wings." Katherine 
MacDonald's last was "The Scarlet Lily." 

A Navarro Fan. — I wish I could help you, but the greatest 
pleasure of life is love. You will have to take your own choice, 
the question was — which is the better at kissing, Rodolph Val- 
entino or Ramon Navarro. Your drawing was good, but it bears 
not the slightest resemblance. 

Wanda R. — No, I dont care whether you write on your 
mother's paper or not. Norma Talmadge's "Ashes of Vengeance" 
is to be shown at the Carnavolet Museum in the Paris, as well 
as at the Apollo Theater in New York, for an indefinite run. 
Yes, Mary Pickford's last is "Rosita." 

Leona W. — Insurance is an effort to discount death and des- 
tiny. Build up your own insurance surplus by right living, simple 
eating and plenty of sleep and exercise. You'll find too, that your 
enjoyment of things takes less force with good health and spirits 
back of you. May Murray has blue eyes, and blonde hair. Yes, 
she used to dance in New York. Yes, Alice Terry wears a blonde 
wig in pictures. 

Betty C. Swampscott. — No, I have no record of the present 
whereabouts of Betty Carpenter. William Collier, Jr. was the 
hero in "Cardigan." 

Aleen. — Well if you fight, fight for honor, glory or money, 
whichever you are most in need of. May Murray is married to 

Robert Leonard, her director. No, 
Eugene O'Brien has never been 
married. 

Lenore. — How about this for 
speed? You refer to Robert Frazer 
in your first and Eddie Burns as 
Buddy. Frances Ring is Mrs. 
Thomas Meighan. 

Sarie. — Yes, I believe there will 
always be wars. Tearing down the 
work of ages and building up anew 
cannot be accomplished without 
tremendous shock. Robespierre, 
Danton, and Marat tore down and 
Napoleon built up. The shock that 
split Europe wide open and shook 
(Continued on page 73) 



(Seventy) 



. 



COL.ATES 




\)f fVlade for Candy Jo vers 



If you want to see the 
sparkle in her eyes, take 
home tonight a package 
of Booth's Chocolates 




NOT just candy, this — but sweets made to order 
for those who know and revel in the best — 
"made for candy lovers." 

Think of rich cream delivered daily from our own 
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been rolled and rolled until they are smooth as velvet ; 
fruits grown in the garden spots of the world and only 
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and all this deliciousness and wholesomeness coupled 
with twenty-eight years of candy-making experience 
gives you Booth's Chocolates. Is there any wonder 
then that they are growing more popular each day? 



Tonight on your way to the "show" drop in at the 
candy store near your favorite moving-picture theatre 
and purchase a package of Booth's Chocolates — you'll 
enjoy the "pictures" much more. 

In addition to Booth's True Blue Chocolates pictured 
above, other favorites are — Booth's Butter Chocolates. 
1 lb., $1.50; Booth's Esther Chocolates, 1 lb., $1.25; 
Boothls Candy Lovers, 1 lb., $1.00. 

If not conveniently obtainable in your locality, 
your money order to us for any package desired. 

BOOTH'S CHOCOLATES 

Elmira, New York 



**^cs-~ -^v ^c^ «•>•» 




( Seventy-one) 





^s 






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Viora Daniels of Christie Comedies 



The Hollywood Boulevardier Chats 

(Continued from page 64) 



last year gave you the impression 
they had been named by some one 
who worked in a match factory. 
They were Eternal Flames and Em- 
bers of Remorse, and Fires of Pas- 
sion, and Coals of Agony and Ashes 
of Vengeance. Now they have re- 
turned to dust. There is Norma's 
"Dust of Desire," and Frank Borsage 
has one called "Dust on the Door- 
step," and there's "Children of the 
Dust." And I suppose Buster Keaton 
will be getting out one like "The 
Duster." 

Bennie Zeidman is on a still hunt 
for another boy genius to appear in a 



Peck's Bad Boy series that he is about 
to make for Sol Lesser. He wants to 
find another Jackie Coogan. "I sup- 
pose," he said .to one anxious mothe-' 
"that this remarkable child of yours 
is more talented than Jackie Coogan." 
The woman nodded. And when 
Bennie added, "Every woman that 
comes in here tells me her child is 
more remarkable than Jackie 
Coogan." "Yes," the woman said 
eagerly. "But my dear man ; you dont 
understand. My child is not like 
the others : he really is more remark- 
able than Jackie Coogan." But the 
fact still remains that every producer 
Peck's Bad Boy series that he is about 



Baer Bros. Co. 



6> MAIDEN 



- N E \V V O R K 



Lucien Lit- 
tlefield with 
a strange 
c ir c ular 
hirsute 
adorn ment, 
w h i cl 
causes him 
-c o nsider- 
able dis- 
tress 




He goes out 
only after 
dark now. 
He had to 
grow 'em 
that way 
for his part 
as the Jest- 
er in "The 
Palace of 
the King" 






(Seventy-two) 



I 



The Movie Encyclopaedia 

mtmued frotn PaQ* 70) 

the world w;is the greater became thai 

a. i- accomplished in |WO or three dee. ides 

which would ordinarily require centuries 

Progress is always preceded bj calamity. 

That which appears to be calamity is often 

a blessing in disguise. Here, here, when 

I get Started, I never know when to stop 

Niles Welch in "Reckless Youth." Dell 

his wife. 

\rn.\ B. — So you think I look like 

that. Irene Castle is rive toot eight inches, 

and she is free from Robert rremain 

(maybe). Yes, Elsie Ferguson is also free 

■ her husband, Thomas Clark. I'm 

also free — from women. 

Little Westerner. — Anna Q. Xilsson 
has been married twice so far as I know. 
Now she is Mrs. John Gunncrson. Mary 
Pick ford was Mrs Owen Moore. Jane 
Novak has a daughter Virginia, aged six, 
hut I dont think she ever was a dancer. 

Moi.i.ik and MovtA.— All the way from 
Australia. James Kirkwood has just mar- 
ried Lila Lee. She is twenty-one and he 
is forty. I wish them luck. Yes indeed 
Bebe Daniels is full of pep in real life. 
Bryant Washburn and his wife are play- 
ing in "Mine to Keep." A proper and 
fitting title for man and wife. And let 
it ever be thus. Stop in again some time, 
girls. 

The Nightingale's Eyebrows. — Now, 
I ask you! I know of no cure for grey 
hair. There are various remedies that will 
restore color so long as you keep using 
the preparation, but nothing will turn it 
permanently. . When you get up in the 
morning and discover that grey hair No. 
20 has made its appearance, dont get the 
ijlooms, but smile sweetly and say "Ah, 
wisdom and good sense are coming. For, 
every hair that fades or fades away, 
figure that you are the gainer by about one 
ounce of brains." Do you want to hear 
any more? Pauline Garon is twenty. 
Betty Compson is to make four pictures 
abroad. The Gish girls are with Inspira- 
tion. Gloria Swanson's daughter Gloria 
is two years old. Right at this address. 

Shirley K. — So you want more of 
Pauline Garon. I'll see what can be done 
with the editor-lady. 

Yankee Girl. — Yes, I must admit that 
my beard is growing day by day. Harri- 
son Ford in "Little Old New Y'ork." You 
write a very interesting letter. Stop in 
again. 

Betty and Bessie. — The two bees. 
Glad you like music. Even a hand-organ 
sounds good to a person in love. There's 
one stops in front of our building about 
three times a week. Yes, Viola Dana, 
Shirley Mason and Edna Flugrath are 
sisters. Leatrice Joy about twenty-five. 
Marguerite • de la Motte was Constance 
in "The Three Musketeers." Yes, 
Marion Davies bobbed her hair. Priscilla 
Dean is Mrs. Wheeler Oakman. Miriam 
Cooper is twenty-seven. Mae Murray 
also twenty-seven. Marion Davies twenty- 
six. Johnny Hines and Mollie Malone 
with Warner Brothers. 

Retiia F. — But the nervous fluid in man 
is consumed by the brain, in woman by 
the heart; it is there that they are most 
sensitive. So you are fond . of Jobyna 
Ralston. So am I. 

Helene C. Mc— But the heart of a 
woman never grows old ; when it has 
ceased to love it has ceased to live. Ad- 
dress Baby Peggy at Century Comedies, 
Jackie Coogan at Metro and Alice Brady, 
Famous Players. Mary Philbin is twenty. 
John Gilbert twenty -eight. 

{Continued on page 85) 




In manicuring, 
u sottens the 
Cut icle, pre- 
vents soreness 
and adds to lus- 
tre of nails. 




Hinds Cream cleanses 
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ind refreshes sallow, 
withered complex 



Q/rotcctina 



wipe 



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A perfect base for face pow- 
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When nearly dry dust on the 
powder. 




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Alkalii 

ern states dries and irritates 

"he skin Use Hinds Cream. 



To keep the hands smooth 
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White, flesh, pink, bru- 
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Samples 2c. 




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6c. travel r size 10c. Tiy-out Box 
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Portland, Maine. 



Use after shaving to / 
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irritation from soap^ 
or close shave 




' Seventy-three) 







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(Stat* musical intlr-u m*nt in which you art intcr»»Ud. ) 




George Hackathorne and Claire 
McDowell, who has been his screen 
mother in four successive pictures 



The Hollywood Boulevardier 
Chats 

(Continued from page 72) 

in the world is searching the world 
for another Jackie Coogan — and not 
finding one. 

* * * 

The most promising lad now in pic- 
tures is little Ben Alexander who 
made his first appearance as a tiny tot 
in Griffith's "Hearts of the World" 
but who is now half grown — enough 
so to make a hit in "Penrod and 
Sam." He has been signed for a long- 
term contract "by Maurice Tourneur. 

* * * 

Bill Hart's return to the screen is 
being received with great acclaim. 
The other night he appeared with a 
number of stars at the Motion Pic- 
ture Exposition. He received the 
greatest ovation of them all, althp the 
aggregation included such celebrities 
as Mary Pick ford and Pola Negri. 

* # * 

"Lilies of the Field," the New 
York stage play which ran for seven 
months at the Klaw Theater, is to be 
filmed by First National. 



Donald Crisp has gathered together 
a collection of extras for the soldier 
scenes of "Ponjola" which looks like 
an officers' club. Nearly every one 
in it is a former British officer and 
many are titled. Just by way of con- 
trast he has one full-blooded Zulu. 



For years Carmel Myers and 
Bessie Love have been pals. They 
went to school together and 
have been the closest friends ever 
since. During all these years they 
looked forward to playing in a pic- 
(Continued on page 87) 

(Seventy-four) 






How the One Natural Color for Cheeks Was Found 




Day and Night Tests That Told Why gouge's 

Familiar Shade Was Wrong — and Eventually 

Duplicated c ^aturc*s Own Color 



MOST WOMEN 
now know and 
use the new natural 
tint which is fast re- 
placing the unscien- 
tilicand unsatisfactory 
purplish-red rouges. 
But how many are 
awareof the peculiarly 
interesting story of its 
discovery? 



We are apt to take 
the most marvelous 
discoveries of this age 
as a matter of fact — 
even one of such im- 
portance to the realm 
of beauty as a tint that 
is a perfect match for 
Nature's own artistry ! 
Suddenly science 
gives the world of 
women a tint which 
tinges the cheeks in such a true 
tone as the very strongest sun's 
rays, or the weirdest effects of 
night lighting cannot separate 
from the underlying flesh tone, 
and we accept it without thought 
of how it came to be. 
Yet behind the simple, 
single tint which gives 
any and all complex- 
ions a divine and per- 
fectly natural mantle 
of color is the story of 
man's indomitable 
perseverance — two 
years' ceaseless ex- 
periment — over two 
hundred failures, and 
eventual success. 

The search for the 
perfect tint led a digni- 
fied Scientist tO a Cel- "'Beneath Trying 

lar's depths — and to 
the roof of a city's tall skyscraper. 
Tint after tint— tone upon tone — 
were tried .in every conceivable 
light. In noon's glare, atop a high 
roof. In the streets below, where 
the sun's rays filtered through 




In "typon's Glare, Atop a High Roof" 

fog and smoke. And in the arti- 
ficial lights of night— trying lights 
in which old-fashioned rouges all 
became the same ghastly, or un- 
lovely purplish red. 

On a patient assistant's cheeks 
shade after shade was 
tried. Some of the 
shades required in- 
gredients from far 
countries- many were 
days in the blending. 
Then, suddenly it 
happened. 

The Tint That Was 
Tried In 'Desperation 

One morning the sci- 
entist used in his mor- 
tar one of the rarest 
ingredients in the lab- 
oratory. It was of pe- 
Artificiai Light" culiar orange hue. 
Scarcely a color to try 
on the cheeks! But he idly applied 
it on his assistant's cheeks — and a 
startling change took place. The 
peculiar orange tint altered in- 
stantly to the true tone of the skin 
beneath! Still doubtful that he 



had found (he one key tint for 
any complexion under all 
conditions— in every light — 
they hurried to the rod and 
put the new tint to the severe 
b i of direct sunlight '1 he 
same beautifully din used, nat- 
ural color! I )own to adarkencd 
room, where neither glaring 
incandescent lamps nor var- 
iously shaded rays of 
electric light revealed 
anything but a color- 
ing that appeared Na- 
ture's own! The same 
day, preparations 
were started to supply 
the demand that such 
a discovery was cer- 
tain to create. Now, 
this new Princess Pat 
Tint is an article of 
standard use. 

It enhances the color of 
countless women who had 
steadfastly declined to use 
any of the old-fashioned 
rouges which a r e so obvious 
in even the ki.idwSt light. 

Trincess Tat Tint is Waterproof! 

Where the new natural tint is made, fur- 
ther improvements have transpired; a less 
costly use of the chief ingredient has 
brought its price within reach of all; an 
entirely new process has rendered it ab- 
solutely waterproof! Even a morning in 
the surf will not streak it! Princess Pat 
Tint is not affected by perspiration, so it 
is worn without concern the day long, or 
evening through! Yet it vanishes instantly 
with a touch of cream, or use of soap. 
On any complexion, remember there is 
need for only one shade. There is no un- 
certainty of matching; for the one tint 
is instantaneously 
transformed to 
blend with any type 
— blonde, medium 
or brunette; and this 
tint may be applied 
as lightly or as full 
and deep as you 
choose — with the 
same perfection of 
result. 




m 




The ^(ew, e Natural Tint Al-ways Ask for It by Name 

PRINCESS PAT, LTD., CHICAGO, U. S. A. 

Princess Pat Tint Ice Astringent Creams Almond Base Powder Princess Pat Perfume 



FREE 

Until the shops have been sufficiently 
stocked with Princess Pat Tint to meet all 
calls for it , we shall take pleasure in sending 
to individuals a week's supply— without 
charge. At no cost to you and without any 
obligation, your prompt use of coupon be- 
low will bring to you Princess Pat new, 
natural tint. 



PRINCESS PAT. LTD., 

2701 So. Park Ave., Dept. 410. Chicago 

ENTIRELY FREE, please forward me 
postpaid, a complimentary supply of the 
new Princess Pat Tint. 



Name (Print). 

Street 

City 



(Seventy-five) 



I i 




These groups of stockholders illustrate the rapid growth in ownership of the Bell System. 

A Community of Owners Nation-wide 



"Who owns the company?" 
"What is behind it?" These 
questions are asked in apprais- 
ing the soundness of a business 
and in determining its aims. 

The American Telephone 
and Telegraph Company is 
owned by more than 270,000 
people living in every state in 
the Union. Could the stock- 
holders of the Bell System be 
gathered to one place, they 
would equal the population of 
a city about the size of Provi- 
dence or Denver. 

They constitute a representa- 
tive cross-section of American 
citizenship. Among them, of 
course, are bankers and men of 
large affairs; for the idea of 



ownership in the Bell System 
appeals to sound business judg- 
ment and a trained sense of 
values. 

In this community of owners 
are the average man and woman, 
the storekeeper, the clerk, the 
salesman, the professional man, 
the farmer and the housewife — 
users of the telephone who with 
their savings have purchased a 
share in its ownership. The 
average individual holding is 
but twenty-six shares. 

No institution is more popu- 
larly owned than the Bell 
System, none has its shares dis- 
tributed more widely. In the 
truest sense it is owned by those 
it serves. 




" bell System" 
American Telephone and Telegraph Company 
And Associated Companies 

One Policy, One System, Universal Service, and all directed 
toward Better Service 




You can complete 
this simplified High 
School Coarse at home 

inside two years. Meets all requirements for en. 

trance to college and the leading professions. This 

and tbtrty-atx other practical courses are described fo our 
Free Bulletin. Send for it TODAY. 

AMERICAN SCHOOL 

Wept. H7. 62"rexel At. A SBUj St. © A.S.1923 CHICAGO 



ARTISTS EARN BIG MONEY 

We can teach you drawing In your home dur- 
ing spare time. Successful artists earn from 
$40 to $250 a week. Thousands of publishers 
and advertisers need the work of good artists. The 
MODERN METHOD is an easy way to learn to draw 
original pictures. Send 3 stamps today for full par- 
ticulars showing opportunities for you. State your age. 

THE MODERN INSTITUTE OF ART 
7 East 42nd Street Studio 50 New York City 





That scentless 



" fraerance — how to achieve it 

■ almost imperceptible fragrance winch adds so much to personal charm is just one 
the jovs of bathing In water thai lias been perfumed and softened with Bathaswect. 
cleanses more quick!] and complete]] than tin- ordinary bath, it does m>i 
cover up body odors, but it actually cleanses them sway. So refreshing! .lust 
trj it I Gel Bathaswect at Drug and Depart ment Stores 25c, 50c, $1. 
K~r Miniature can 10c by mall. "CD 
THE C.S.WELCH CO.. Dept. A.B., NEW YORK CITY 




Ashes of Vengeance 

{Continued from page 31) 

Then my noble lister went straight 
way to our brother Charles and be- 
spoke Rupert's freedom. So elo- 
quently did she plead his cause that 
Charles was moved to absolve him 
from his oath of service and said so, 
right magnanimously. 

Rupert was surprised and gratified, 
yet hurt. He was sure now that 
Yoeland did not care for him, since 
they were allowing him to go away. 
Incredible to say, he did not now want 
his freedom. I was heart-broken and 
wept grievously for hours. Yoeland. 
the haughty, cried too and when I 
saw her tears I marveled at them. 

I am sure I do not know how it 
would have ended if she had not 
broken down when Rupert came to 
bid her farewell. Slowly the realiza- 
tion dawned on him and such amazed 
delight blazed in his eyes that had I 
been looking into them instead of 
Yoeland, I should have been blinded. 

"Yoeland," he murmured, "Yoe- 
land, my beautiful," and took her in 
his arms and kissed her on the lips. 

I turned my head away. It \va> 
too great ecstasy for me to see. 

They are to be married within a 
fortnight and so that ends the feud. 
For neither Charles nor Rupert dare 
fall under the displeasure of My 
Lady Yoeland. That would be too 
grave a risk, as both of them love 
her too well. 

And now the story is ended — or 
rather just begun. The two lights 
of night and day shine soft across 
the castle walls, making long shadows 
on the grass, and I am very tired, 
but oh, so happy. 



Divine Discontent 

{Continued from page 22) 

Alma: I'd leave the screen and 
take to the pen. 

Myself {incredulously) : You 
cant mean that you would rather 
scribble than star? Personally, I 
cant imagine what has brought you 
to such a pass. 

Alma: But what does it all 
amount to, after all? What does it 
get you ? Where does it get you ? 
A little money, easily spent. A little 
fame, easily forgotten. A little tem- 
porary glory. An illusion. While 
your youth lasts, or your good looks 
. . . then . . . poof! 

Myself: But there are those who 
survive indefinitely. After all, life 
itself is indefinite. Nothing goes on 
forever. The true artist . . . 
{Continued on page 84) 



(Scvcnty-six) 



Reduces 53 Lbs* in Nine Weeks! 



Society Leader Takes Off Every Pound of 

Excess Weight— From 191 Lbs. to 138 Lbs. 

Mrs. Bayliss Tells the Way She Did It 




NKVER dreamed 
you could do it 
Mr. Wallace," 
wrote this well 
known young 
matron of Phila- 
delphia's social 
elect Her letter 
is dated in Febru- 
ary, and refers to 
reducing records 
WALLACE purchased late in 

November. A reduction of more than 
fifty pounds in three months! But read 
her own story: 

"Here I am, back to 138 lbs. after 
my avoirdupois had hovered around the 
impossible two-hundred mark! Your 
perfectly wonderful music movements — 
nothing else — did it. You have reduced 
my weight from 191 to 138, and light- 
ened my heart as no one can know who 
has not had activities and enjoymentscur- 
tailed for years — and suddenly restored. 
"Thanks to Wallace I am dancing, 
golfing and 'g om s' as oi yore. Best of 
all, I am back in 
the saddle. Because 
I once laughed at 
the idea of getting 
thin to music' 1 
offer in humble 
apology this letter, 
my photograph and 
permission to pub- 
lish them should 
you desire. 

Very sincerely yours, 

Jessica Penrose Bayliss." 

How It Was Done 

Most women of bulky figure would 
make almost any sacrifice to attain the 
symmetry Mrs. Bayliss' photo reveals. 
But you need not sacrifice your health, 
comfort, or even convenience. The 
process is enjoyable. You use Wallace's 
records but ten minutes a day! Yet the 
reduction is felt within five days of 
starting; the second week will bring a 
noticeable improvement; the third or 
fourth week will find you lighter by 
many pounds. 

The beauty of Wallace's method is 
its absolutely natural reduction, and 
redistribution of weight. Unlike the drastic 
dieting and drugging methods, there is 
no loss of flesh where you cannot afford 
to lose it. 

Observe the photograph ; do you see 
any suggestion of gauntness in face or 



What You Should Weigh For 




Your Height and Age 


Height 


Age Age Age Age 
20 to 29 yrs 30 to 39 yra 40 to 49 yre 50 end Over 


in 


Inches 


Lbe. Lbs. Lbs. Lbs. 


60 


HI 116 188 125 


61 


118 118 124 127 




115 120 127 180 


63 


Hi 188 130 133 


64 


188 127 133 136 


65 


125 131 137 140 


66 


129 135 141 145 


67 


133 139 145 150 


68 


137 143 149 155 


69 


141 147 153 159 


70 


115 145 156 163 



neck — or flabbiness of armsr* The 
Wallace reducing records play away 
only excess flesh. 

There Is No Need of Starving or 
Otherwise Punishing Yourself 

Scores of society women have re- 
duced by this now famous course in 
reducing, Many of them wouH never 
have done so had it required thv stren- 
uous and tedious effort and self-denial 
once thought to be the only means of 
defeating superfluous flesh. ' It is down- 
right fun" is what most folks say, from 
the first day they take up this exhilara- 
ting form of reducing. 

It is easy to get thin to music — and 
extremely easy to prove that you can. 
The first reducing record awaits only 
your word that you want it. Try it only 
five days — and note the result in even 
this short time. 

Almost a Pound a Day 

In the case here recorded, the reduc- 
tion averaged almost a pound a day. 
Much depends on 
the individual con- 
stitution; for reduc- 
ing in this natural 
manner takes place 
only as fast as the 
system is prepared 
for thechange. Some 
lose seven or eight 
pounds in the first 
five-days test period; 
others but two or three. But you can 
and will reduce to normalcy if you want 
to; whether you are only five pounds 
too heavy, or fifty. 

Consult the table of weights printed 
above ; see just how much you are over 
the weight that is best for your health 
and appearance. Then make up your 
mind that you will weigh what you 
should; you can, very easily — and very 
quickly, if you send for the first reduc- 
ing record and make the start. 

Free Proof — Send No Money _ 

Just try Wallace's way for one week. 
That's all he asks. Don't send any 
money; don't promise to pay anything 
now or later. The trial is free. If you 
don't see surprising results in even these 
few days— simply mail back the record 
and you will not owe Wallace a penny. 
Let the scales decide. Here is the cou- 
pon that brings everything; can anyone 
suffering from overweight decline such 
an invitation? 




Mrs. Jessica Penrose Bayliss of Bryn 
Mawr, Pennsylvania. Lost overfifty pounds 
with WaJIacereducingrecords. Ftmttj Dnn- 



WALLACE. 630 S. Wabash Ave. Chicago 

Please send me FREE and POSTPAID for 5 days' 
free trial the original Wallace Reducing Record for 
my tirst reducing lesson. If I am not perfectly satis- 
fied with the results, I will return your record and 
will neither owe you one cent nor be obligated in 
any way. (219) 



Xan:c. 



Address. 



(Seventy-seven) 



jhc Greatest Jtfessqge 

ever written into 
^)ti(nisictureffistoiy 



-£)auid Mdascos 
QArHstlc influence 

QAIotion Ttclures/ 



w 



-^ "'v. 7 fS 




" Mr _ 

- 

Y"'Yfrii"i~'"MI 


•;V~:Hj..v«=^- 



^aew^fS^i 




DAVID BELASCO — the man who for a generation has capti- 
vated patrons of the Spoken Drama — has yielded to the insistent 
appeal that his dramatic genius should be perpetuated in Motion 
Pictures for the entertainment and inspiration of all people for 
all time. 

And BELASCO has chosen to express his matchless art exclu- 
sively through 



<( 



y> 



Warner Bros. Classics of The Screen 

Now you will see pictures so beyond-the-ordinary that you will 
forget the canvas before you and feel the heart-grip of the 
master producer. 

DAVID BELASCO'S association with WARNER BROS, is 
the long-sought triumph of the Silent Drama — the final proof 
of Warner leadership. 

Watch for the first three Belasco productions — "Tiger Rose" — 
"The Qold Diggers"— "Daddies". 

We have a limited number of autographed photographs 
of DAVID BELASCO which we will send without 
cost on request of readers of this publication 



1600 Broadway 



\ 



IIRNERIHK 

f Classics of the Screen** 



New York City 



Elinor Glyn on the Technique 
of the Scenario 

(Continued from page 34) 

before it is accepted. First, it is read, 
then passed on to the considering 
office, where it is criticized before 
reaching the scenario department. 
There the actual changes are made, 
and it is sent to the continuity writer ; 
after this, it is placed in the director's 
hands. His point of view is often 
biased by the subject, which may be 
about a nation or a class whose man- 
ners and customs he knows nothing 
about ! The director changes things 
pretty much as he wishes, as does the 
advisory committee. Then of course 
there is the star of the production, 
who must have his or her little altera- 
tions. When all this is done, the cen- 
sorship committee awaits what is left 
of a once original story. And there 
you are ! Or rather, there your once 
beautiful story isn't! 

"The actual meaning of your idea? 
Alas, it no longer exists ! Supposing 
your story is of a man who stumbled 
out of a window. Have it by acci- 
dent or otherwise, as you will. You. 
as the author, had a definite reason 
for this to happen. And, having 
your reason, had doubtless, a logical 
result, as it affected the man who 
tumbled, and also as it modified the 
lives of those with whom he was con- 
nected. You worked out the psy- 
chology, the consequences of every- 
thing in your story ; these, and other 
parts were the very life of it. Life? 

"When the average motion picture 
scenario department finishes with 
your creation, it has been robbed of 
all which could make it convincing. 
All the well-planned logic and true 
psychology is gone, deleted. Your 
man and his tragic tumble have be- 
come perhaps even the comic adven- 
ture of a person who now evidently 
bears no plausible relation to any- 
thing in your story. 

"And you ? You have been made a 
fool of, because the picture play that 
cannot but insult the intelligence of 
the public, is brought out under your 
name ! I believe, from what I have 
observed, that the American public is 
quite the most understanding in the 
world. It is therefore no small 
prejudice that you have aroused 
against you, as the author. You are 
guilty of offering 'bunk,' something 
that all the checks in the world would 
not have enticed from your pen, in 
the beginning. 

"As I have been away from 
America for nearly a year I have not 
seen the most recent pictures. But 
I have been studying motion pictures 
in England, Germany, Sweden, and 
France. And truly, from the techni- 

( Seventy-eight) 



cal end of tiling, the \m< i ican pro 
duccrs ha\ i no rivals ! In the techni- 
cal side ft picture making the) are 
perfection. 

"Most of the scenarios oi the 
Swedish and German productions arc 
vague; yet they are stories of quality. 
They give forth something tangible tti 
the educated mind. This is where the 
American producer falls down. 

"Imagine the gross insult of a pic 
ture that depicts American social life, 
ociety drama wherein the people 
acl as no man or woman in any conn 
try, in this particular stratum of life 
would act. That's what we have to 
look at all the time. And the public 
will never be given dramas of real 
life as long as ignorant people are 
permitted to have power to produce 
and direet pictures. We must have 
people in authority in the scenario 
departments who know from the in- 
side the phases of life which they are 
trying to interpret. We must have 
people who keep to the things they 
know ! 

"The success of my novels has 
been based upon the fact that I never 
write about things that T do not 
knn7i\ Recently someone asked me 
why T did not write about a certain 
part of England and the natives there. 
'Why-' T asked, somewhat amazed. 
'Recause T only know about them 
thru hearsav. T dont know the reality 
of their existence, and could not write 
until T do.' 

"The scenario departments receive 
many terrible scenarios that have to 
he changed. Naturally, it is hard for 
them to realize when they get a good 
one. which it would be wise for them 
to leave untouched. The diligence 
of the author in mastering movie 
technique will mean everything in the 
final O. K. which he alone should be 
allowed to place on the continuity of 
his picture. TTis knowledge of tech- 
nique will influence producers to 
gather about them intelligent people 
who are not groping in the dark, but 
who, in knowing what they are at- 
tempting to do, will not be satisfied 
until they do it correctly." 



An Old Storv 



I ( ontinucd from page 42) 

very closely. For if you did look 
very closely and very discerningly, 
you would find in her eyes that thing 
which made her what she was and 
gave us what she gave us in "TTu- 
moresque"; the thing Fannie Hurst 
saw when she wanted her to play 
the mother-part: the thing Frank 
Rorzage recognized when he cast 
her for the part — the first of a long 
line of directors who have perceived 
her. 
The sympathetic, world-enduring, 




Prettier Teeth 

If you fight the film 



While you leave teeth coated with a 
dingy film, their luster cannot show. 

Look about you. Note how many 
teeth now glisten. And mark what 
they add to good looks. 

The reason lies largely in a new 
method of teeth cleaning. Millions now 
use it daily. Accept this ten-day test we 
offer, and learn what it does for you. 

Why teeth lose beauty 

A viscous film clings to the teeth, 
enters crevices and stays. The tooth 
brush alone does not end it. No ordi- 
nary tooth paste effectively combats it. 

So much film remains. Food stains, 
etc., discolor it, then 
it forms dingy coats. 
Tartar is based on 
film. Those cloudy 
coats hide the teeth's 
luster. 

Film also holds 
food substance 
which ferments and 
forms acid. It holds 
the acid in contact with the teeth to 
cause decay. That's why so few es- 
caped tooth troubles. 

Germs breed by millions in film. 
They, with tartar, are the chief cause 
of pyorrhea. And that became alarm- 
ingly common. 

Better methods now 

Dental science studied long to cor- 
rect this situation. It found two film 



Protect the Enamel 

Pepsodcnt disintegrates the film, 
then removes it with an agent far 
softer than enamel. Never use a 
film combatant which contains 
harsh grit. 



combatants. One of them acts to 
curdle film, one to remove it, and 
without any harmful scouring. 

Able authorities proved these meth- 
ods by many careful tests. Then a 
new-type tooth paste was created, 
based on modern research. In that 
were embodied these two film com- 
batants for daily application. 

That tooth paste is called Pepsodent. 
Leading dentists the world over now 
advise it. Careful people of some 50 
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Multiplies two agents 

Pepsodent does two other things which re- 
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It multiplies the alka- 
linity of the saliva. That 
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mouth acids, the cause ol 
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Thus every use gives 
manifold power to these 
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This test amazes 

This 10-day test of Pepsodent amazes and de- 
lights. The results are quick and conspicuous. 

Send the coupon for" it. Note how clean the 
teeth feel after using. Mark the absence of 
the viscous film. See how teeth whiten as the 
film-coats disappear. Watch the other good 
effects. 

In one week you will realize what this new 
method means. You will see results which old 
ways never bring. Cut out the coupon now. 



Kspsaciem 


10-Day Tube Free " 

THE PEPSODENT COMPANY, 

Dept. 303. 1104 S. Wabash Ave.. Chicago. I1L 
Mail 10-Day Tube of Pepsodent to 


The New-Day Dentifrice 

A scientific film combatant, which 
whitens, cleans and protects the 


teeth without the use of harmful 
grit. Now advised by leading den- 




tists the world over. 


Only one tube to a family. 



( Seventy-nine) 



PREFERRED 
PICTURES 




Bringing Great Books 
and Plays to Life 

IN the back of your mind linger the 
memories of mighty deeds and 
throbbing loves — the things that 
make up great books and great plays. 

Upon such stories are Preferred Pic- 
tures built. 

The men who founded Preferred Pic- 
tures believe that no photoplay can 
give the maximum of entertainment; 
no star, no cast, can put forth the 
best that is in them, unless the story 
is right. 

You received the first Preferred Pic- 
tures and proclaimed them a success. 

Now comes "THE VIRGINIAN," 

a Tom Forman Production, made from 
the immortal novel and play. 

Under the spell of color, action and setting 
such as only the moving picture makes pos- 
sible — you can live it yourself with Trampas, 
with Molly, Steve and "The Virginian," the 
greatest western character ever given to lit- 
erature. 

Kenneth Harlan heads the Preferred Cast, 
which includes such noted actors as Florence 
Vidor, Russell Simpson, Pat O'Malley and 
Raymond Hatton. 

Preferred Pictures are shown in your city. Call 
up your favorite theatre and ask "When?" 

Distributed b\ 



PREFERRED 
PICTURES 

'Produced by 

B. P. SCHULBERG 

Coming 
"The Virginian" 

from the play and novel by 
OwenWister and Kirke La Shelle 

April Showers" 

by Hope Loring and Louis D. 
Lighton. 

* "Maytime" 

from the play by 
Rida Johnson Young. 

"The Boomerang" 

from the play by 
WinchellSmithandVictorMapes 

"White Man" 

from the novel by 

George Agnew Chamberlain. 

"Poisoned Paradise" 

from the novel by 
Robert W., Service. 

"When a Woman 

Reaches Forty" 

by Royal A. Baker. 

"The Mansion of 

Aching Hearts" 

by Harry Von Tiber and Arthur 
J. Lamb. 

"The Breath of Scandal" 

from the novel by 
Edwin Balraer. 

"The First Year" 

from the play by 
Frank Craven. 

"TheTriflers" 

from the novel by 
Frederick Orin Bartlett. 

"Faint Perfume" 

from the novel by 
Zona Gale. 

"My Lady's Lips" 

by Olga Printilau. 

a HpjV SHOWING 

"The Broken Wing" 
"Mothers- in-Law" 
"Daughters of the Rich" 
"The Girl Who Came Back" 
"Are You a Failure?" 
"Poor Men's Wives" 
"The Hero" 
"Thorns and 

Orange Blossoms" 
'Shadows" 

Rich Men's Wives" 




PREFERRED 

AL LICHTMAN, ^President 



PICTURES CORP. 

1650 Broadway, New York 



passionate and patient artist-soul. 

But in the movies one does not 
look for the passionate and patient 
artist-soul in a stout Jewish lady of 
forty summers. 

It is preposterous. Out of no slim 
Adonis came the full notes of Ca- 
ruso . . . but in the movies . . . 
p's's't ! Anyone knows that in the 
movies art, Art, mesdames and sires, 
is accompanied by slim, desirous 
bodies, pickfordian curls and nita- 
naldian thighs, come-hither eyes, and 
sixteen fruitful summers. And 
where, in Vera Gordon, were the 
vanished sixteen summers? Where, 
even, were the come-hither eyes?" 
Ah, no, ah, no, to the directors, ever 
searching, ever seeking for the Great 
in Art, Vera Gordon was what she 
might still be to any casual passerby, 
a stoutish Jewish lady asking for a 
part in pictures, pictures, if you 
please ! And so Mrs. Gordon had 
all she could do to get by the keeper 
of the gate, let alone into the rare- 
fied atmosphere of the Casting Di- 
rector's official sanctum. 

And thus, bearing her gift within 
her, guarding it, preserving it with 
the frankincense and myrrh of do- 
mesticity and child-bearing and 
anxiety. Vera Gordon watched the 
long, lean years go by. 

In Russia, when she was thirteen, 
she had played a great mother-role, 
in the Hebrew tongue. Played it so' 
realistically, with such force and 
veracity, that the governor of the 
town or province, or whatever you 
call 'em. issued an order that she 
should be allowed to play in the 
theaters when she chose, an excep- 
tional honor to befall a woman in 
Russia. Later, she married and 
came to Canada, and then followed 
the record of the years between the 
then and now. 

They haven't embittered Vera 
Gordon. If she has a slight con- 
tempt for "the men higher up." who 
mostly dont belong up, it is lost and 
absorbed by her passionate pity and 
love for the great mass of the peo- 
ple, the poor people, whose every day 
is struggle and whose every night a 
new and sad defeat. 

"I know their needs so well, so 
very well." spoke Vera Gordon softly 
and with inescapable understanding. 



This 



is 



beinsr what a novelist 



called his novel. "The Mother of All 
Living." This is the spirit that has 
shone forth and given Vera Gordon 
at long last her "place in the sun." 



(Highly) 



rhe Powers Behind the Screen 

nued from page 39 » 

\ small man, with slender, expi 
sive hands that is the first imp 
sion. N "ii .iu conscious next of the 
thin, colorless lips, drawn taut as it' 
some eternal problem kept them 
forever so, but soon you are aware, 
most of all, of the broad forehead, 
the calm and stead) eyes. Seeing 
these, you know you are facing no 
ordinary immigrant washed in by the 
endless stream from Europe, ["his 
man's ancestors were princes of 
Jerusalem, bankers, poets, visions 
ries. Grim necessity, the clutching 
fingers of European conditions 
these later may haw- dragged his 
family'^ members down till they 
came to this country as piecework 
tailors, but before this, in the dim, 
far days of time, his personality, his 
imagination must have been nurtured 
tenderly and under favoring condi- 
tions. 

Within speaking distance of him 
only once, this writer came to that 
conversation last year prejudiced 
against him. Such, frequently, is the 
effect achieved by press agents hired 
to boom a man ! But facts speak- 
louder than press agents, and the 
tacts concerning- Adolph Zukor came 
first to a stirring, dramatic climax 
in the anteroom of the General Film 
Company over a decade ago. 

Like Disraeli who foresaw the 
British Empire cemented by r a Suez 
Canal clinching India, years after the 
House of Commons had laughed him 
down — like Disraeli, Zukor waited 
patiently. Three hours passed. He 
was shown in, but he plead in vain. 

The little he had picked up as a 
furrier he had sunk in these nickel- 
odeons of his, hut imposed condi- 
tions were cutting his profit. He had 
vision. He needed money. But what 
he saw, they could not see, what he 
asked they did not grant. They only 
laughed, and suddenly he was on his 
feet, his finger leveled at them, a 
curious hitter smile parting those 
drawn lips of his. 

"Some day," he said, like Disraeli. 
"some day you will hear me. Some 
day you will listen." 

It is convenient to tell the history 
of the motion picture industry in the 
terms of Adolph Zukor, but an in- 
quiry into all the circumstances that 
have entered into that history from 
the day of that interview till now — 
such an inquiry makes telling the 
>tory in just those terms inevitable. 

While he has not created circum- 
stances. Zukor has set the pace. 
\\ hile he has not sown the seed, fre- 
quently at harvest he has found him- 
self boss of the threshing machine. 
While conditions beyond his control 



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LW-SWEET INC 

1650-1660 BROADWAY, NEW YORK. 



have constantly developed about him, 
he has been quick to maneuver him- 
self into positions of advantage, and 
his last, his ablest move, brought him 
that saving grace which — for sim- 
plicity's sake — is known as Will H. 
Mays. 

This was a Machiavellian stroke, 
but its true inwardness seems to be 
understood only in Wall Street finan- 
cial circles where they have followed 
the growth of the picture business to 
its present apex, where they remem- 
ber best the exact manner in which 
the foundations of this pyramid were 
laid down in 1913, '14 and '15. 

Thereabouts the General Film 
Company's hold on the basic patents 
was loosened. Distributing and pro- 
ducing companies sprang up : Mutual. 
Universal, Film Exchanges of 
America, Triangle, Metro, and finally 
Paramount. Able men took charge 
of them : Carl Laemmle, P. A. Pow- 
ers, R. H. Cochrane, H. E. Aitken, 
R. A. Rowland, and finally the com- 
bination that included under the 
Paramount banner such men as 
Zukor, W. W. Hodkinson, Jesse L. 
Lasky, J. D. Williams, Arthur' 
Friend, B. P. Schulberg, and Al 
Lichtman. But what, you will ask, 
was this all about. 

Some flooded pipe-line must have 
poured rich, streaming gold into so 
great a body of activity. 

It did. The stream grew to a river 
when shows were provided worth a 
quarter, half a dollar, a dollar, even 
two dollars. Nickels and dimes were 
all that was asked before. Shows 
had been short then. Half an hour 
of time, two thousand feet of film. It 
was argued that the public would not 
stand for anything longer, that eyes 
couldn't stand the strain. 

One-reelers and two-reelers had 
been supplied by the General Film 
Company at the rate of sixty reels 
a week. Universal broke in with a 
thirty-two-reel program, Mutual with 
twenty-eight, Film Exchanges with 
an inconsiderable eight to twelve. All 
these were short subjects, but before 
the war change was in sight. 

George Kleine, the Republican 
politician from Chicago, was to im- 
port from Italy a picture called "Ju- 
lius Caesar" and pack those anxious 
to see it into a Broadway theater. 

"Quo Vadis," "Cabiria," other? 
followed, but, even before this, ex- 
hibitors clamoring for something to 
keep the crowds coming had seized 
on such few five-reel features as were 
offered and promptly raised their 
prices for "feature days." 

Soon it was evident that the public- 
waited for "feature days," and will- 
ingly paid a quarter for the better 
show. 

The five-cent days were over. . . 



(Eighty-two) 




PLAY PIANO BY EAR 

Be a Jazz Miisic Master 



Remember 
American 




New Niagara Method Makes Piano Playing Wonderfully Simple. 

No matter how little you know about music — even though you "have never touched a piano" — if you can 
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can hum. Beginners and even those who could not learn by the old fashioned method, grasp the Niagara idea 
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You learn many new styles of bass, syncopation, blues, fill-ins, breaks and trick endings. It's all so easy — so 
interesting that you'll be amazed. 

Be Popular in Every Crowd 

One who can sit down at any time without 
notes or music, reel off the latest jazz and 
popular song-hits that entertain folks, 
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center of attraction — master the piano 
by spending an hour a day studying 
the fascinating Niagara Method. 
As easily as thousands of others have 
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but also by playing at dances, motion pic- 
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Decide to Begin Now ! 

Just spend a part of your spare time with a few easy, 
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and learn to play. You will be amazed, whether you 



A Simple Secret to Success 

No need to devote years in study to learn //>, 
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applies to the songs you play. Once learned, 
you have the secret for all time — your difhcul 
ties are over and 

You Become Master of the Piano 

Even talented musicians are amazed at the rapid prog- 
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why this method was not thought of years ago. Natu- 
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rights and cannot be offered by any other school. A 
special service department gives each pupil individual 
attention. 



Learn at 



me in 




are a beginner or an advanced student. 

Write for interesting, illustrated booklet, "The Niagara 
Secret" — it describes this wonderful new method of play- 
ing piano by ear. This booklet sent FREE. 



Ronald G. Wright, Director, NIAGARA SCHOOL OF MUSIC, Niagara Falls, N.Y. 




(Eighty-three) 




Do You Want 
A Better Job? 



THE only difference between success and failure 
is a matter of training. The big men in busi- 
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through luck or chance. 

They got into the work for which they were 
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When opportunity came — as it always comes — 
these men were ready to grasp it and turn it 
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You have just as good a chance to succeed as these 
men had — perhaps better I Good positions are always 
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if you train yourself to deserve them. 

You can secure this training easily and quickly 
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way is the practical way — the fascinating way 
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All that we ask is this: — Fill out the coupon printed 
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Divine Discontent 

(Continued from page 76) 

Alma: P.ut where are there any 
true artists ... on the screen ? 
Who is to say whether they are true 
or not? Where is the celluloid 
Bernhardt ? 

Myself : Non-existent. 

Alma : Exactly. Oh, there are 
touches of genius, I know. I could 
name several. . . . But even so. On 
the other hand, if one can write one 
can defy time, all the time there is. 
Youth can pass and beauty can fade 
and still the gift can remain, one's 
own, independently. 

Myself: What type of writing 
are you doing? 

Alma: Fiction. Short stories. 
Friends of mine, critics, shall I say, 
tell me that my ideas are good, but 
my treatment can be improved upon. 
That's enough encouragement to be- 
gin with. I'm going to keep on try- 
ing. The fact is, that I admire most 
those people, men or women, who 
are able to sacrifice everything, 
fame, comfort, glory, for the sake of 
the thing they want most to do and 
can do the best. I could bow down 
and worship a man or a woman who 
can live in a garret on twenty-five 
cents a day in order to do the thing 
they believe in. That's what dis- 
satisfies me with myself. I have con- 
stantly the feeling that what I am 
doing is impermanent, unimportant 
and soon forgotten. 

Myself : You are probably alone 
in that opinion. -Perhaps the con- 
tinued appreciation of "Enemies of 
Women" will help you to see that. 

Alma: If I could do something 
greater than a mere picture. "Driv- 
en," for instance. Did you see that ? 
There was something tremendous 
and epochal. That was more than a 
mere picture. And yet the man who 
made that has turned to the making 
of "Six Days." Just another movie. 
The pity of that sort of thing is what 
hurts me ; is what gives me this 
poignant dissatisfaction with myself. 

=1= % % 

The conversation went from there 
to other things. Lighter, lesser 
things, and it wasn't until after I 
had left Alma that I thought of what 
I should have said to her . . . which 
was, that this very dissatisfaction and 
restiveness of hers is the tormenting 
fire of genius, the lack of which she 
was lamenting. Hers are the grow- 
ing pains of Art. And when one is 
suffering from growing pains one is 
passing from the adolescence of 
artistry into the maturity that 
endures. 

\ve. Alma. 



** : *V. 




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MARIE FRANZAN, 

Dept. 1410, 2707 Cottage Grove Av., Chicago, 111. 



(Eighty-four) 







You Can Learn 
In Ten Minutes 

b) mj method what would ordinarily take 
three hours any other way. And to prove 
n I will send you absolutely free the iir>t 
two lessons of my course. Tins is posi- 
tively the surest and safest waj to 

LEARN PIANO OR ORGAN 

utel) iiD previous training necessary to be 

ecomplished musician b) mj scientific 

method. Ml lessons are so clearl) written a 

. t- 1 1 1 1 • t can master them. Yet the course is 

■ousli it qualities you for professional work, 

i-uhrr as .in instructoi ol music or as a pi 

nist m pianist. Your progress will be 
>o rapid you will be al 

PLAY MUSIC FROM NOTES 
IN SIX LESSONS 

Write immediately for full particulars ami 
S*mf 

PROF. JOHN A. OSHEA, Musical Director 
Room 4 Boston Academy of Music 

120 Sutherland Road Boston, Mass. 



MAKAfe^ANKLES 




SLIM 




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GARFIELD IMPORTING^.," '•iVicSSR'^IcS 



I he M"\ ie Encyclopaedia 

ntinued from pagt 7.1) 

\l M .'I So you want mon 

<>i t sul Ring, who played in "Back Hon* 
ami Broki All right. Cyril, wnd along 
some phoi 

I! vron salute, my kinj ' I will 

ouote your letter "Anal Mj erudite 
friend I Permit me t>> <i"" (t ' you — 'Things 
are never masterpieces when they first ap 
pear; they become masterpieces after 
wards.' would it not be more correct t" 
say that thej are recognized as master- 
pieces . . . afterwards? Howevi 
mil me, also to observe thai I enjoy your 
question box not for the questions and 
answers— but for your delightful j»liil< >- 
sophic injections. I do hope thai thej 
are received with due consideration." I 
thank you with all my heart for your very 
kind words. Write me again — do. 

Dorothy I.. — Vou know what Robert 
Louis Stevenson says "To marry is to 
domesticate the recording angel.'' Glenn 

Hunter in "The Scarecrow" and l"West of 

the Water Tower.'" Mary Miles M inter 
is not playing now*. Francis Bushman is 
thirty-eight, and Justine Johnston is in 
Rngland. 

Gloria, New Orleans. — The truest 
mark of being horn with great qualities is 
being horn without envy. Gloria Swanson 
i; twenty-six, five feet three and weighs 
112. My error, Conway Tearle is forty- 
three instead of twenty-three. Norma 
Talmadge married to Joseph Schenck. 
Thomas Meighan in "Homeward Bound" 
and Conrad Nagel is twenty-seven. 

Alice G. Belmar. — Well, eat-well is 
drink-well's brother. Wallace Reid and 
Gloria Swanson in "The Affairs of 
Anatol." Viola Dana and Malcolm Mc- 
Gregor in "The Xoise in Newboro," and 
"The Social Code." Write to Warner 
Brothers for Marie Prevost's picture. 
Claire Windsor is not married now and 
she has a son Billie. Address Marguerite 
de la Motte, Mayer Studios, 3800 Mission 
Road, Los Angeles, Cal. You're very 
welcome. 

Ethel W. — What beautiful stationery. 
Barbara La Marr at Universal, Universal 
City, Cal. Ramon Navarro is twenty- 
four, not married, born in Mexico — a 
dancer and playing in "Scaramouche." 
Savee ! 

Thelma O. ; Carolyn R. ; Margaret 
I. ; Glbnna P.; De Roche Craze; Betty 
axd Jack; Peggy; Gerene; Frannie P.: 
Sweet Sixteen; Sis Hopkins; May H.; 
and Rex D. ; Sorry to have to put you in 
the alsorans, but your questions have all 
been answered up above. Come again. 

Ansell W. — Quien sabe? Some say 
Xita Naldi is Italian descent. Norma Tal- 
madge is Mrs. Joseph Schenck and she has 
lovely brown eyes. So long for tonight. 

Pat. — That sure was a clever letter of 
yours. Norma Talmadge has been mar- 
ried about six years now. No children. 

Jean Acker Admirer. — I am glad you 
do not think this department is dry. It 
would be if I allowed cobwebs to collect 
in my brain works. Why Jean Acker is 
twenty-five, five feet three, weighs one 
hundred and fifteen pounds, has blue eyes 
and brown hair. She hasn't been playing 
in pictures recently. You might try 
Loew's Circuit, 1540 Broadway, New Vork 
City. Thanks a lot. 

Zelda F. — Yes, Gloria Swanson is her 
right name. Cant tell you why she wears 
a sad look all the time. Didn't know she 
did. She has auburn hair. Yes. and some 
drink healths till they drink away their 
own health. 




16 



Latest Ibxliots 
owfWaltzes 



FOX TROTS 



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If not delighted with your bargain return records 
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(Eighty-fire) 




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Foreign Films 

(Continued from page 25) 

film called "The Poor Mother" (La 
Madre Folle) in which his wife, 
Soava Gallone, one of the finest ac- 
tresses in Italy, plays a double role. 
In this picture she confirms her repu- 
tation as a wonderful comedian as 
"the poor mother," and a beautiful 
actress as the daughter. 

RUSSIA 

Russian film fans are always very 
busy. After the success reported by 
the film "Polikuchka," two other 
photoplays have been completed. 

One of them is called "Jola" and 
deals, according to an old Russian 
legend, with the story of a woman 
somnambulist. 

The other is "The Defeat of Sa- 
tan" and is another legend of the 
time before Jesus Christ. 

Both are very characteristic, as 
they are full of real Russian atmos- 
phere (many scenes were shot in the 
Russian mountains or near the river 
Volga) and depict, of course, Russian 
customs and habits. 

GERMANY 

It is a pity that the cinema was not 
yet discovered when Christopher Co- 
lumbus discovered America, if it had 
been, many cameramen would have 
certainly accompanied him in his long 
journey. But producers of different 
countries now wish to immortalize 
on the screen the name of the fa- 
mous discoverer, and different pic- 
tures haA'e been made which depict 
his life. 

A few years ago — that is, near the 
end of the war— France sent Georges 
Wague to discover America in a pic- 
ture entitled "The Adventure of 
Christopher Columbus." Altho this 
was very well acted, the photography 
and the continuity were not very 
satisfactory. And now Germany has 
just sent one of her actors, Albert 
Bassermann. to discover in his turn, 
the New World. 

A very characteristic German pic- 
ture is "Chaos." It is an astron- 
omical and comic picture, quite orig- 
inal and attractive. It represents the 
type in which the Germans seem to 
excel. 

AUSTRIA 

I had the opportunity of seeing 
lately "Samson and Delilah," the new 
picture produced at the studios of 
the Vita-Film in Vienna. Of course 
it tells us the Biblical story, but an- 
other story is in it of the strongest 
man and the girl who won him. This 
picture is one of the best Austria has 
so far produced and the acting of 
Maria Corda, the Austrian star, is 
perfect. 



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(Eighty-six) 




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I he Hollywood Boulevardiei 
Ch 

ontinucd from /• 

i (i n- together, At last it came no1 
long ago iii "The Magic Skin." L> 
produced by the Achievement F ilm 
at Goldwyns. And when it came, 
Carmel found thai her pari required 
her t«> push B< ie over a cliff to her 
doom and such. Discouraging for 
sisterly love, 1 luh ? 

* * * 

Erich von Stroheim is going to 
take his company to Death Valley for 
the final scenes of "Greed." At the 
height of the August heat which they 
will be in the midst of, Death Valley 
is a grand little summer resort. The 
last prospector who got out this sum- 
mer reported the thermometer as 
standing at 172. 

;:■• * * 

The most interesting project I 
know of in films is the announced in- 
tention of King Vidor to make a pic 
ture from Gulliver's Travels. lie 

says he has had it in mind for year- 
hut never before has had the oppor- 
tunity. Just at present. Mr. Vidor 
is filming "Wild Oranges." 

* * * 

Lloyd Hughes is one leading man 
who comes straight out with the 
truth. As a relief from the imagined 
aristocratic origins of most of them. 
Lloyd announces to the world that 
his father was a locomotive engineer 
in Arizona and before becoming a 
screen actor he was a butcher hoy. 

* * * 

Lois Weber has thrown up her 
hands in disgust. She says, what with 
censors who murder the stories and 
producers who insist upon casting the 
pictures and directing the directors, 
she is thru. She is going to take a 
vacation until they come to their 

senses. 

* * ■ * 

It's all off again with Pola and 
Charlie. Pola says she will never be 
Mrs. Chaplin, so that's the end of 
that. This shocking truth was borne 
in upon the public of Hollywood last 
week when both Charlie and Pola at- 
tended a big hotel opening. But 
Charlie was with Leonore Ulric while- 
Lola was with "Big Bill" Tilden and 
Manuel Alonzo, the tennis players. 
"I realized rive weeks ago that it was 
an impossibility." said Pola. "Charlie 
is lacking in all matrimonial require- 
ments, he is too temperamental. I'm 
glad it's over now. I can think of my 
work again." 

Leonore Ulric laughed when she 
was asked if she had matrimonial 
designs upon Charlie. "Not for me." 
she said briefly. 




Earle E. Liederman 
as he Is to-day 

Pills Never Made 
Muscles 

Wishing Never Brought 
Strength 

NO one can paste muscles onto your an 
shoulders. If you wish ■ strong, heal 
musl work for It. And if roll 
one. you an doomed to a life of ml:-. 

Modern science has taught us that we mi 
our bodies physically tit or our mental po* I 
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i bum 

Examine Yourself 

Do you have the strong robust body which, kiip- 
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Dept. 1810. 30S Broadway. NewYorkCity 

EARLE E. LIEDERMAN 

Dept. 1810. 305 Broadway. New York City 
Dear Sir:— I enclose herewith 
yoa an- to s. ml me, wit] 

part whatever, a ,-opy of \our lat.^t I t.. 

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st rest 

< ■ i t > Stale 



(Eighty-seven) 




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The Rime of the Ancient Ham 

(Continued from page 51) 

Committing crimes in 
pantomime 
While Art with scorn 
was spurned. 



And rulihelh it 
In 



And zanies, nit-wits, 
dumbbells, mimes, 
Who ne'er had 
played a part, 
Were crowned with 
laurel wreath and 
gold 
By this Caliban of 
Art. 



"inlTMovi'e As happened it, I once 
Queen bespoke 

A sceptered Movie 
Queen. 
She earned a fabulous 
sum each week, 
This Miss of 
seventeen. 



A 11 d tntreateth 
her to wise hiiu 
up ahout how 
she puts it over 



The dana- givetli 
him an earful 
of apple sauce 



Daisy Dumbell 
was starred in 
a piece but it 
was never re- 
leased. The cen- 
sors objected to 
Ibe word "pa- 
jamas" 



The Ham con- 
cludcth that 
Art has been 
vamped by a 
Flapper 



Ain'titthe 

truth* 



'Oh, child,' I said, 
'please spell for me 
me 
Your secret of 
success. 
What is the chicanery 
that holds 
The public in duress ?' 

'Well, sir,' she said, 'it's 
this a-way, 
So far as 1 can tell. 
When my first picture 
hit the screen, 
The Public simply 
fell! 

Of course, you see, I'm 
kinda cute, 
In weepy, heart-sick 
dramas. 
You'd ought to see my 
latest hit, 
It's called, "The Cat's 
Pajamas." ' 

Alas ! I saw things 
clearly then. 
Old Art, the doting 
fool, 
Had been beguiled by 
simpering youth, 
And was youth's easy 
tool. 

Was like a vain and 
foolish man, 
Who. when the years 
betide, 
Puts off his old and 
faithful spouse, 
And takes a younger 
bride." 



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21S OInan Bid*., Detroit. Mlchlf* 



(Eighty-eig'. ') 




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uul .'f III 

.lilt] »H '■ 
III.. Illll 



A ii il ■• an tii lo 

know wbj th< 
Hum picket!] on 

hi in nlth his 
(air Of WW 



Tin- Ham I \ 
lila I iii-IIi Dial 
he's gotta tell 
tils troubles to 
sutuobo.l \ . Off 
baal 



And liow be un 
loaik'th on any- 
body that's got 

a lo.- 



The Fan beats 
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Boat races and 
the Ski junipers 



I lu Mm il l*;m | 
ii|» at this. 

"I've sa« thai little 

till II. 

Iii lots o' urns k- plays. 

\lld Ml) ! 

She sure can strut 
her stuff! 

But lissen, Bo! v.. us e 
liit tin- rocks, 
\ i one eyed guj 
could ' 
Bui why your mourn- 
ful song and dance 
Unload on Little 
Me?" 

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soul is torn 
With dire and woe 
ful agony. 
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is told, 
It will not set UK- 
free. 

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My tale to him I 
teach." 

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spiel. 
It's a sad tale, too, 
at that. 
But I gotta see the 
show inside. 
Here's where I leave 
you fiat." 



Flashes from the Eastern Stars 

(Continued from page 57) 

Vivienne Segal, prima donna of 
"Adrienne," and Robert Ames, who 
is appearing in "We've Got to Have 
Money," were married recently in 
Maryland. 



Mae Marsh has signed a contract 
to star in the Warner Brothers' pic- 
turization of David Belasco's play, 
"Daddies." She has left for the 
Coast. 



Ralph Graves is to play opposite 
Marion Davies in her new Cosmo- 
politan picture. "Yolanda," which 
has started at the Forty- fourth Street 
studio. He will have the romantic 
role of Prince Maximilian. Lynn 
Harding, who is to play Charles the 
Rash of Burgundy, has arrived 
from London to begin work. "Yo- 




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landa" is an elaborate costume pic- 
ture of the fifteenth century when 
Louis XI reigned over France and 
Edward IV over England. Robert 
( i. Vignola is directing. 



Seena Owen, who returned re- 
cently from Banff in the Canadian 
Rockies, has signed to star in Whit- 
man Bennett's screen adaptation of 
"The Leavenworth Case," by Anna 
Katherine Green.' Mr. Lionel Bar- 
rymore co-starred with her in "Un- 
seeing Eyes," and among other 
functions they performed, while on 
location, was acting as judges in a 
baby show in which the contestants 
were swarthy little Indians. 



Lloyd Hamilton, the motion-pic- 
ture comedian, has left Los Angeles 
for New York where he will imme- 
diately begin production at the D. \Y. 
Griffith Studios in Mamaroneck, on 
his first five-reel comedy. The story 
in which he will appear is called 
"Black and White" and is the same 
production in which Al Jolson was 
rehearsing when he fled without 
notice to Europe. 

Griffith is contemplating a film epic 
of the American Revolution. He has 
a scenario prepared and one star 
selected, Carol Dempster. It has been 
proposed that the Daughters of the 
American Revolution sponsor it. 



George Pembroke, well-known ju- 
venile lead on stage and screen, ha.s 
signed up with George Beban for his 
current production to be made here 
in the East. Mr. Pembroke will be 
remembered for his work in support 
of William Faversham in "The 
Prince and the Pauper." 



David Belasco has completed the 
installation of a new lighting equip- 
ment at the Belasco Theater. The 
outcome of scientific research and the 
result of years of experimental work, 
it will revolutionize stage lighting. 
He believes the most interesting, im- 
portant and potential department of 
play production — aside from acting 
— - is lighting. Heretofore, color 
lighting on the stage has been accom- 
plished by the use of gelatin mediums. 
This process was and is unsatisfac- 
tory. Mr. Belasco's innovation will 
make it as extinct as the dodo. 



Greenwich Village, New York's 
so-called Bohemia, with all its hokum, 
sophistication, and free thought, has 
been transferred this week to the 
Paramount studio in Long Island 
where Sam Wood is producing "His 
Children's Children." The scene 
shows a cafe in the village, a com- 
posite of the Pirates' Den, The Black 
(Continued on page 92) 



(Ninety) 



Special Announcement 

of Interest to Every Reader of 




LASSIC is to have an addition. Effective 
with the November number, SHADOW- 
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the arts, will be combined with Classic, 
the Picture Book de Luxe. The new title 
will be Classic and Shadowland. 



October will be the last number of SHADOWLAND to be 
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you should get the October Shadow land. John H. 
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{Ninety-one) 




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Flashes from the Eastern Stars 

(Continued from page 90) 

Cat and other familiar resorts in 
New York's artistic center. Tiny 
Tim, the candy man, who sells the 
soul candy, which "stirs the emotions 
and charms the heart," is one of the 
interesting figures of the Village who 
is shown in the scene. He peddles 
his candy to the extras on the set 
just as he does nightly in the cafes 
downtown. 

News has just come from abroad 
that Pedro de Cordoba, well-known 

artist, is to be starred in "I Will 
Repay," the Henry Kolker produc- 
tion being made in Great Britain 
now. Prior to this Mr. de Cordoba 
played the lead in "The Fires of 
Fate," a picture made in Egypt. At 
present he may be seen with Madge 
Kennedy in "The Purple Highway." 



A punster has had the nerve to 
submit this : "Ever since an ambi- 
tious publicity man put a whale on 
top of Pike's Peak to advertise 
Elmer Clifton's 'Down to the Sea in 
Ships' we have been expecting to 
hear that someone has hitched 'The 
Covered Wagon' to a star." 



Daniel Carson Goodman is cutting 
and editing his third production for 
Equity, titled "The Daring Years." 
The cast includes Mildred Harris, 
Charles Emmet Mack, Mary Carr, 
Tyrone Powers and Clara Bow. 



"New York is the logical place to 
make pictures," says Richard Row- 
land, general manager of First 
National, who confidently expects to 
be producing the major portion of 
First National's releases in the East. 
"The scenery in California," he goes 
on, "has been overworked and pro- 
duction on the Coast is so far away 
from the home office that it is impos- 
sible to watch proceedings. Until 
business can be regulated so that the 
heads of the company are at the scene 
of activity, we are going to continue 
to hear these complaints registered 
against the ridiculous cost of produc- 
tion. The man who furnishes the 
bank-roll and who is personally in- 
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picture should be able to consult with 
his director by word of mouth. Tele- 
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many cases. There is no prettier 
country for outdoor scenes in the 
spring, summer and fall, than New 
York and vicinity. The Hudson 
River, the Adirondack's. Long Island 
and the Catskills furnish scenery that 
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in the world." 




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(Ninety-two) 









Hlow Youi Own Horn 

1 1 on tinned f\ out page 

lie smiled brightly on Mr. Small, who 
was fizzing like a buttle of soda 
water. "< *ne \\ eek from tonight 
ont week," he repeated significantly, 
holding the millionaire's eye, "we 
will show you all the first demonstra 
t HMi of wireless power ever made!" 

The sputtering Small met the tri 
Umphant smirk of Dinsmore Bcvan, 
ami remembered a long li-t of old 
scores tn be evened up. \\ hat a storj 
it would make at the club- the Wise 
Boy of W all Street gypped l>y a 
tramp, h was too good to spoil, and 
anyway he luul given his promise 
that tlii- audacious rascal should 
have a week in which to blow his 
own horn. 1 le burst into a roar of 
laughter, prodding a knowing elbow 
into Jack's ribs. "A week, eh? Nol 
much time, my boy !" 

lack's blue gaze sought Ann grave- 
ly, "< )li. I dont know." lie -aid. "after 
all. the world was made in seven days, 
you know. Perhaps it can be made 
over in a week, who knows?" 

And Ann. the modern, saw fit to 
blush again, as tho his remark could 
by any possibility have had anything 
to do with her ! 

To quote Buddy, the week that 
followed was "the snake's hips." lie 
was not quite clear just how the 
miracle had been wrought hut Life 
had taught him to ask no questions, 
and so he took what was ottered — 
two helpings, and made no comments 
until he and his brother were safely 
in bed in the luxurious room that 
looked to his awed gaze like one of 
those movie palaces the -well skirt 
that marries the he-man hero lives in. 

"Say, I -aw you and Ann in the 
garden this afternoon." he confided 
at such a time, "now dont get sore, 
only do you think it's straight to kiss 
another guy's girl ?" 

"Ann isn't another guy'- girl," 
Jack's voice came from the darkness 
a trirle tremulously, "-he'- my girl. 
Buddy! She and Augustus dont 
want to get married, and this after- 
noon she promised to marry me, only 
we are going to keep it a secret till 
the evening we test out the inven- 
tion." 

Buddy extended a small, hard hand 
in congratulation. "That's the ant's 
Adam's apple!" he avowed. "Say, 
I bet that Yates dame with the de- 
mountable complexion is going to be 
sore! She has you picked to do a 
Mendelssohn with that Julia of hers. 
Say — dont squeeze too hard. I 
bumped my finger today — yeah, on 
Percy's eye ! He said your wireless 
was no good, and / said he was a 



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(Xinety-three) 



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The R.eal Norma Talmadge 

So much has been written about the work of this famous 
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pleasant surprise to her admiring public. 

The Editor Crossifis 

Intimate, personal glimpses into the lives of motion-pic- 
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about them are given by the editor whose opportunity for 
meeting screen celebrities "off duty" affords material for 
interesting reading. 

1 he (cartoonist dontnoutes 

A double-page spread of pen pictures by Kliz that show 
many of the screen favorites from a humorous angle. 



November 

Motion Picture Magazine 

On the stands October first 



liar! It's going to work all right, 
isn't it?" 

"Sure it is!" Jack said cheerfully. 
Horn-blowing was getting a habit 
with him nowadays, but in his 
heart he was not so sure, and as he 
sat a few nights later at the trans- 
mitter which had been placed in the 
Jolyon drawing-room waiting for the 
first faint ticking which would prove 
success, his confident smile covered 
a sick fear. If the thing should fail, 
he must in common honesty give 
Bevan back his check, and start 
out again on the road that led away 
from Love and Happiness — and Ann. 

He started from his thoughts at 
the sound of her name, spoken acidly 
on Mrs. Yates' tongue, "Ann is at 
the cabin with Augustus tonight, is 
she, Mr. Small? I thought that she 
would probably prefer to await the 
result — at this end." 

There was no mistaking the in- 
sinuation of the emphasis, especially 
as it was accompanied by a spiteful 
glance toward the man who had not 
chosen to become her son-in-law. 
Small whirled with a snarl upon 
Jack. "What? D'you mean to say 
that you've dared " 

Jack interrupted sternly. Hand 
on the transmitter, every nerve tense 
with listening for the first tick, he 
faced the millionaire's purple rage 
steadily, "I have dared to love your 
daughter, yes ! But I would never 
have spoken of it to her if Augustus 
had not confessed that they did not 
care for each other." 

"But — that's carrying the joke too 
far ! A common soldier — a tramp 

" Small turned to the others, 

sputtering out the story of the im- 
posture, waving a pudgy diamonded 
forefinger at Jack who stood very 
straight as tho at attention under 
their curious, hostile eyes, "and now 
this — this impostor dares to tell me. 
he hopes to marry my daughter — 
ha ! ha ! That would be a joke — a 
fellow without a penny " 

"How about the check I gave 
you ?" Bevan's voice was ugly. For 
reply Jack silently took the slip of 
paper from his pocket, tore it across 
and handed it to him. At almost the 
same moment the instrument beside 
him began to tick ! Jack laughed 
exultantly, facing them, head high. 
"A common soldier!" he said with a 
great breath, "that's the finest com- 
pliment you could pay me! And as 
for the rest — yes, I am penniless — 
except for a half share in Augustus' 
invention !" 

Dinsmore Bevan smiled a sickly 
smile. "I was hasty," he began pro- 
pitiatingly, "suppose I write you an- 
other check " 

The jangle of the telephone inter- 
(Conlinucd on page 96) 



(Ninety-four) 



Manufacturers, Distributor! 

and Studios of Motion Pictures 
Outside New York Gt\ 



American Film « " Broadway, 

t hicago, 111 

Beat State Film Co., Hollywood, Calif 

Bennett, Chest* r, Prod . 3800 Mis-ion Kd , 
I os Angeh 5, 1 alif. 

Carson Studios, Inc., I84S Messandro St . 
I os Angt l< s, Calii 

Century Comedies, 6100 Sunset Blvd.. 
Hollywood, Calif. 

Charles Chaplin Studios. 1420 La Brea 
Vve . Los Vngi li . Calif. 

Christie Film Corp., 6101 Sunset Blvd., 
Hollywood, Calif. 

imonwealth Pictures Corp., 220 So. 
State St., Chicago, 111. 

tan, Jackie, Prod., 5.5-11 Melrose Ave., 
Los Angeles, Calif. 

Dwan, Mian, Prod . 6642 Santa Monica 
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Famous Players-Lasky Studios, 1520 Vine 
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Ford. Francis, Prod.. 6642 Santa Monica 
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Fox Studios. 1401 Western Ave., Holly- 
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GoWwyn Studios, Culver City, Calif. 

Hart. William S., Studios. 5544' '• Holly- 
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Ince Studios. Culver City, Calif. 

Leah Baird Prod., Culver City, Calif. 

Lloyd, Harold. Prod., Hal Roach Studios, 

Culver City, Calif. 
MaeDonald, (Catherine, Prod., 945 Girard 

St., Los Angeles, Calif. 

Mayer. Louis B. Studios, 3800 Mission 
Rd., l.os Angeles, Calif. 

Metro Studios. 1025 Lillian Way. Los An- 
geles. Calif. 

Morosco. Oliver. Prod., 756 So. Broadway, 
Los Angeles, Calif. 

Pacific Studios, San Mateo, Calif. 

Pat lie Fun s, 1 Congress St., Jersev City, 
X. .1. " ' 

Ray, Charles. Studios, 1425 Fleming St., 
Los Angeles, Calif. 

Roach, Hal E., Studios, Culver City, Calif. 

Rohertson-Cole Studios. 780 Gower St.. 
Los Angeles. Calif 

Roland, Ruth, Prod., Culver City, Calif. 

Sennctt, Macjc, Studio.. 1712 Glendale 

Blvd., Los Angeles, Calif. 
Stahl. John M., Prod.. 3S00 Mission Rd., 

Los Angeles. Calif. 
Stewart. Anita. Prod., .vSOO Mission Rd., 

Los Angeles, Calif. 

Talmadgc Prod., 5341 Melrose Ave., Los 
Angeles, Calif. 

Toumeur, Maurice. Prod., Ince Studios, 

Culver City, Calif. 
United Studios, Inc., Los Angeles, Calif. 
Universal Studios, Universal City, Calif. 
Vidor. King, Studio, 7200 Santa Monica 

Blvd., Los Angeles, Calif. 
Vitagraph Studios, 170S Talmadge St., 

Hollywood, Calif. 
Warner Bros.. Bronson Ave. and Sunset 

Blvd.. Hollywood, Calif. 
Weber, Lois. Prod.. 6411 Hollywood Blvd.. 

Hollywood, Calif. 
Wharton, Inc., Ithaca. Xew York. 

(Ninety-fire) 



OPPORTUNITY MARKET 



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Blow Your Own Horn 

(Continued from page 94) 

rupted. Jack picked up the receiver 
and his face went white as he 
listened. "You say the cabin is 
electrified and you cant get out? Au- 
gustus is unconscious? For God's 
sake keep away from anything metal, 

and I'll be there " he turned upon 

them, "one of the high tension wires 
must have fallen against the ridge- 
pole flashing ! They'll be roasted 
alive " 

Mr. Small had sunk down into a 
chair. He seemed to have shrunken 
all in a moment until his clothes hung 
loosely on him. "I thought- — I cut 

the arterial lead " he muttered. 

"I wanted the experiment to fail so 

I could buy Bevan's share " he 

began to whimper, "save her, young 
man, and I'll give you ten thousand 
dollars- — twenty " 

But Jack was gone. A small 
pajamaed figure met him in the hall, 
and for one instant he paused, grip- 
ping Buddy's shoulder with fingers 
that left a mark for days. "Do you 
know any prayers, kid?" Jack asked 
him tensely, "if you do, get down on 
your knees and say them till I get 
back — with her!" 

Obediently Buddy slid down and 
prayed the only prayer he knew. 
"Now I lay me down to sleep" — he 
was still repeating it in a voice hoarse 
from fatigue, an hour later when 
they all returned, with Jack in the 
midst of a worshipping throng. From 
the clamor of many voices, disjointed 
facts floated thru Buddy's sleep- 
dazed brain, Jack had climbed the 
steel tower of the power line and 
jumped down on the broken wire- 
swinging it free from the cabin. . . . 

The figures of his brother and Ann 
seemed to recede in his head, and 
then grow to enormous size — he had 
never seen such a large kiss even in 
the final close-up of a movie ! " — it's 
the red-blooded — he-men that gets — 
'em every time," Buddy muttered 
sagely from the depths of a long and 
varied cinema experience as the 
waves of sleep rolled finally over 
him, "just the same — that guy, 
Shakespeare, was right — you gotter 
— blow — your own — horn " 



Iris In 

(Continued from page 46) 

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SVMPATHETK treatment 
made the screen version ol 
Mam hi 'a i lassii oi thi ' }uartici 
Latin, " I rilby" < First National » . 
something which belongs in an exclu 
sive gallei j ol appealing < an\ 
\\\ the refreshing sentiment and the 
vital pathos arc admirably caughl l>\ 
the director who makes ol "Trilby" 
a work comparable t<> the best of the 
stage productions of the play. In its 
favor is a dramatic story possessing 
fine screen possibilities - a story 
which lends itself to every form of 
t repression which lias been realized 
upon the silversheet, Ik vivid char- 
acters stalk across the screen giving 
substance and life to the tragic story 
of Trilby's romance with Little 
Billie — and the unhappy fate which 
snuffs out her life as she is deter 
mined to rid herself of the malign 
influence of the dread Svengali. 

Trilby is enacted by Andree Lafay- 
ette who was brought over from 
France to create the role. She gives 
a performance marked with poignant 
charm — and singing with divine 
romance. The Svengali of Arthur 
Carewe is a capital study — a study 
sinister and uncanny — quite as Du 
Maurier sketched it. And the other 
immortal characters are excellently 
limned by competent players — who 
seemingly caught the spark of the 
playwright. 

The picture offers no variation 
trom the original. It is executed 
with fine understanding and feeling. 
The types, atmosphere and back- 
ground are thorolv convincing. We 
enjoyed the unhappy ending the best 
— since it is faithful with the play. 
There is a happy finish for those who 
do not enjoy stark tragedy in their 
screen fare. Even this conclusion 
does not mar the vital fabric of the 
story. "Trilby" — anyway you look 
at it. richly deserves a place in the 
sun. 

H\0 Maurice Tourneur treated 
"The Brass Bottle" (First 
National) in the spirit with 
which it was written, he would have 
carried the spectator along on a fan- 
ciful journey. Instead, he has failed 
utterly to realize its delicate whimsy. 
The author of the tale was evidently 
influenced by the tales of the Arabian 
Nights — particularly. "Aladdin and 
His Wonderful Lamp." and 'fash- 
ioned an imaginative story saturated 
with whimsical humor. An illogical 
piece if taken seriously, but because 
it was tempered with delicate satire, 
it made most enjoyable reading. But 
Tourneur has not caughl the spirit of 
(Continued on page 99) 




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Current Stage Plays 

(Continued from page 6) 

Province town. — "Sun Up." A passion- 
ate tragedy of the North Carolina 
mountain folk. The Widow Cagle is su- 
perbly played by Lucile La Verne. 

Republic. — "Abie's Irish Rose." An 
amusing study in temperaments of the 
Irish and Jew in which the irreconcilable 
is reconciled thru emotion. 

Rite. — -"In Love With Love," the story 
of a flirt caught in her own love net. 
Lynn Fontanne holds you in suspense with 
a reality that makes your hca.rt beat. 

Selwyn. — "Helen of Troy." A musi- 
cal comedy, the book by Kaufman and 
Connolly and the lyrics by Kalmar and 
Ruby. It has a coherent plot and deals 
with adventures in a collar factory. 

Shubert. — "Artists and Models," a 
revue ; the professional version of the 
Illustrators' Show. It includes sketches by 
James Montgomery Flagg, Henry Wag- 
staff Cribble and Clarence Buddington 
Kelland. Adele Klaer, who acts, paints, 
and writes poetry, has the lead. 

Vanderbilt. — "Two Fellows and a Girl," 
typical Cohan comedy-drama, panned by 
all the critics and nocked to by the public. 

Winter Garden. — "The Passing Show" 
with Jobyna Howland, Joan Hay, Walter 
Woolf and George Hassell surrounded by 
a chorus of one hundred beauties. 

ON TOUR 

"Blossom Time." A musical comedy 
based on the life of Franz Schubert. 

"Bombo," black-face extravaganza. 

"Cameo Girl," and "Listen to Me," 
musical comedies of one-night stands. 

"Caroline," a musical gem. 

"Dew Drop Inn." Second company. 

"Irene," with an all-star cast composed 
of the original principals of the company. 
A musical comedy. 

"Irene Castle's Fashion Show/' includ- 
ing dancing and musical numbers. 

"Kempy," an English comedy. 

"Lady in Ermine," a musical comedy 
concerning a romantic legend about an 
ancient castle. 

"Lightnin'." A comedy that crosses 
your heart — the one that Frank Bacon 
made famous. 

"Loyalities," a Galsworthy play with an 
English cast — the story of semetic conflict. 

"Partners Again," a Potash and Perl- 
mutter comedy. 

"Sally, Irene and Mary." One of the 
best musical shows that have ever blessed 
the comedy stage. 

"So This Is London." George Cohan 
poking fun at American and British 
temperaments. Not original cast. 

"The Crash," a melodrama by Lincoln 
J. Carter and Ralph Kittering, produced 
exclusively for the road. 

"The Dancing Girl." Song and dance. 

"The First Year," a comedy about 
"breakers ahead" on the honeymoon. 

"The Fool," a drama, about a minister 
who tries to follow the life of Christ in 
modern locale. 

"The Heart of Paddy Wack," with the 
old favorite Chauncey Olcott. 

"The Old Soak," a play on the order of 
"Lightnin'," with Raymond Hitchcock, the 
lovable inebriate. 

"The Passing Show," as usual a gor- 
geous revue. 

"You and I," a society comedy, wherein 
a career is sacrificed to matrimony and re- 
found in the next generation. 

"Wang," with the arch comedian, De 
Wolf Hopper, a charming revival. 

"Whispering Wires," a mystery play 
that makes the flesh creep. 

"Wildflower," which has a delightful 
musical score. Second company. 



(Ninety-eight) 




The Celluloid Critic 

1 1 ontinued from pogt 97) 

Vnstey's original. He resorts tn 
heav) touches of slapstick which rob 
it ol .1 fanciful flavor, 1 1 n > he doc9 
succeed in making it mirthful occa 
sionally. 

"The Brass Bottle" features the 
struggles of a young architecl who 
comes into possession <>t an ancient 
antique from which emerges a grate 
t'ul genie after an imprisonment of 
»i\ thousand years. Every wish of 
the architect is gratified as a result. 
But the illusions the black magic of 
the story are unfortunately missing. 
What is revealed is an array of 
hackneyed gags with Ernest Torrence 
as the genie, Tully Marshall as a 
musty, old professor, and Harry 
Myers as the architect executing the 
high jinks. The fanciful note is very 
faint. As a result the picture is often 
stupid. And it could have been such 
an effective fantasy. 

AS long as Mae Murray continues 
to maintain her penchant for 
L worshiping at the shrine of 
Terpsichore — just so long will she 
fail to develop any hidden talent 
which may reveal her as an actress of 
parts. This star hecause of an in- 
dulgent director — who happens to be 
her husband — is allowed to pout and 
pirouette to her heart's content. The 
result is Mae has lost all sense of 
poise. 

"The French Doll" which created 
a mild flurry upon the stage is hardly 
substantia] enough to carry one along 
with unbounded interest. Its theme 
is hackneyed, treating as it does upon 
the pursuit of riches by a grasping 
French papa and his irrepressible 
daughter — who have come to America 
to chase an eligible young man from 
Xew York to Miami. There is no 
vital spark discernible. Tt follows an 
even course straight to an orthodox 
movie climax — in which the young 
eligible is captured after the girl be- 
comes wounded in a shooting affair. 
The picture is neatly staged and 
photographed. But the star needs 
repression. 

WE cannot mention any direc- 
tor in James Young's class 
who can be so dependably 
erratic. He balances such a fine 
achievement as "Trilby." with an im- 
possible piece of claptrap such as 
"Wandering Daughters" (First Na- 
tional). The fault here is not entirely 
Mr. Young's. In the first place, the 
story which is bared to the mercies 
of the screen is an inconsequential, 
stupid affair concerning the morals of 
young girls — an idea which has long 
outlived its usefulness in film circles, 

(Ninety-nine) 



Doesn't hurt the 
skin a particle 





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